FT 

MEADE 



TRICKS 





The John J. and Hanna M. McManus 
and Morris N. and Chesley V. Young 
Collection 


WEHMAN BROS.’ 

TRICES WITH COINS 

OR 

MODERN COIN MANIPULATION 


EMBRACING EVERY SLEIGHT AND SUBTLETY 
INVENTED AND KNOWN 


BY 

. . . T. NELSON DOWNS . . . 

“KING OF KOINS.” 

INCLUDING (NOW PUBLISHED FOR THE FIRST TIME) 

A COMPLETE EXPLANATION OF HIS WORLD FAMOUS COIN CREATION, 
“THE MISER’S DREAM.” 

EIGHTY-NINE ILLUSTRATIONS. 


PUBLISHED BY 

WEHMAN BROS., PARK ROW, 
NEW YORK. 


Copyright, 1905, by Wehman Bros. 



'CALLAHAN'S 


%B r)! VEKTRILOQUISM COICHL? 

PRICE 15 CENTS. 


CALLAHANS 

EASY METHOD FOR 


. |l anyone with a 
if certainly an act 
1 cultivating, for 
v mystify a social 


This great book was written by Mr. Georg; 
W. Callahan, one of the most famous of the 
world’s ventriloquists, and in it he clearly 
shows that ventriloquism is not a natural 
gift, but an art that may be acquired by 
anyone with a little practice, and it is 
accomplishment well worth 
nothing will so amuse and 
t ify a social gathering as the feats of 
a ventriloquist. He appears to be a man 
of a dozen voices. In his natural tone of 
voice he asks a question, and the answer 
appears to come from the depths of the 
chimney in the weak accents of a little 
child. Again, we hear the voice of an old] 
man appearing to proceed from the roof I 
of the building, the distant barking of a ’ 
dog, etc. These wonderful imitations are 
performed without the slightest move- 
ment of the lips, greatly to the astonish- 
ment of the audience. Would you not 
like to acquire this amusing and mystify- 
ingaccomplishment, ? Youcandosoeasiily 
and readily by studying the directionscon- 
tained in this book, which is the best and most complete instructor in 
the art of ventriloquism ever piiblished. It is a book o£64 large pages, 
and will be sent by mail, postpaid, upon receipt of 15 Cents. 

WEHMAN BEOS/ 

New Book ef 



TRICKS ^VENTRILOQUISTS’ GUIDE 


PRICE 30 CENTS. 


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This is the latest and best book published on Tricks, Ventriloquism, 
Second-Sight and Fireside Mesmerism. It is illustrated with 
nearly 100 engravings. The instructions for performing are so plainly 

given that any child, with a little 
practice, can do them as they only 
require simple apparatus. We will 
mention a few of the tricks in this 
book : How to eat a peck of shavings 
and change them into ribbon; how 
#to make a dime pass through a ta- 
ble; how to make fire burn under 
water; how to put a ring through 
your cheek and then bring it on a 
stick; how to make a loaf dance 
while it is baking in the oven; how 
to cut off a chicken’s head without 
killing it; how to make ice in Sum- \ 
liter; how to change water into 1 
wine; a lamp that, will burn for at 
year ; how to cut off your nos*; how 
to make fireproof paper; how to eat 
tow and set it on fire in your mouth ; 
how to produce a mouse from a pack 
of cards ; how to tell the number any 
person thinks of; how to tell in ad- 
vance a card selected by any one; 
how to tell if a person is in love; 
how to remove a man’s shirt without, taking off his coat or vest ; how to 
hold a glass of water upside down without spilling it; how to become a 
Ventriloquist, and 150 other equally astonishing tricks, etc. Old 
and young should not fail to get this highly amusing and wonderfu’ 
pviTG-.by mail, postpaid, only 30 Cents per copy. 

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INDEX. 


CHAPTER I. 


“THE MISER'S DREAM." 

Description of the act page 

Continuous front and back-hand paim ..... r 

Latest improvements in connection with same. o 

Method ot getting first stack of coins into hat ,o 

The apparent “catching” of the coins 

Passing coin through bottom of hat I? 

Passing coin through side of hat 

Coin thrown in the air and invisibly caught in hat.. 1 {= 

Manner of getting a second load into hat 7111171 

Method of continuing the “catching” after second load is exhausted 16 

Production of any number of coins at finger tips 17 

To pass a coin through the knees is 

The “elusive” pass 77 1 {q 

New “change over palm ” 7.7. 1 90 

Downs’ new “ click ” pass 21 

Ten coins passing into tumbler 21 

Downs’ new “ fan ” pass 00 

Downs’ “Eureka” pass 24 

The “ turnover ” with 40 coins 7. ........ . . . . 1 . . . . . 25 

Three distinct methods of palming coins at the same time 27 

To palm and make the pass with 40 coins 28 

To produce same in a shower from the vest 7. 7 7777 28 


CHAPTER II. 


A Series of Abso'utely New and Original Coin Vanishes 
and Passes. 


Methods for causing the disappearance of one coin 

With the aid of a piece of hair 

Vanishing coin from handkerchief 

Coin vanish with the aid of the vest- 

Disappearance of a coin while lying on the table.. ., 

Coin vanish with the aid of the outside sleeve 

Coin vanish with the aid of the trousers’ pocket 

Novel pass with a coin 

New back-palm idea 

The sleeve vanish 

The sleeve vanish in conjunction with back palm,.. 

The coin and tumbler 

Novel adaptation of the “rattle-box ” idea 

A rapid pass with six coins 

Disappearing pile of coins 


30 

30 

30 

31 
31 
31 

31 

32 
32 
32 

32 

33 
33 

33 

34 


INDErX— Continued. 


CHAPTER III. 

Miscellaneous Coin Tricks, Illusions, and Combinations. 

TAGE 

The equilibrium of silver 35 

To pass 20 coins from one hand to the other 36 

Quadruple coin 36 

Gold versus silver 37 

The transmutation of metals 38 

Vanishing coins from goblet 39 

Multiplying coin (sleight-of-hand method) 39 

New coin production from bare hands 40 

The money-producing cigarette., 41 

The coin of Phoenix 42 

New money-producing card 42 

The marvelous transit of coins 44 

Novel appearing coin 45 

The new crystal target 45 

The flying coins 47 

The “ Downs’ ” goblet of mystery 48 

The mysterious claret glass 48 

Magnetized coins 49 

The demon goblet 50 

The silver question 50 

Handkerchief as money-producer 52 

New money-producing candle 52 

The dematerialization of 30 coins 53 

Coin passing through a table, etc 54 

The crystal coin ladder 55 

The traveling coin 57 

The sixteen-to-one silver trick 58 

The fusible coins 59 

CHAPTER IV. 

Mechanical Devices for Performing the “Miser's Dream." 

Coin with wire loop . 62 

Coin with attachment for first, finger 63 

Single spider “fake” 63 

Single spider “ fake ” (differently constructed; 63 

The “Hilliar” coin spider fake 63 

Coin holders 85 

New coin-dropper for hat 65 

Coin caught on rim of the hat 67 

Apparatus enabling performer to easily palm 50 coins 68 

New vest coin dropper 69 

New vest coin dropper (differently constructed) 69 

CHAPTER V. 

Additional Coin Tricks. 

The coin of Mercury 71 

The coin cornucopia 72 

The obedient coins 73 

The coin and paper tube 74 

An old trick improved 74 

A good coin trick 75 

To tell date on borrowed coin 75 

Entirely new pass with 25 coins 76 

The new glass coin-jar 76 

The winged coin 78 

New coins and die 78 

CHAPTER VI. 

Koincluding observations 81 


■^MODERN 


Coin /Hbarupulation. 


CHAPTER I. 

THE MISER'S DREAM. 

The above original conception of the author s has, he be- 
lieves, been more extensively imitated and counterfeited than 
any other known Magical Act. In this chapter it is proposed first 
to give an outline of same, and then to explain all the differ- 
ent “sleights” necessary for its accomplishment, which the 
author desires to emphatically state were all, without excep- 
tion, invented by himself some sixteen years ago. He men- 
tions this fact for the information of those that may be in 
doubt as to the origin of the back palm. 

The stage is devoid of any kind of furniture, with the ex- 
ception of an ordinary property side-table, which is totally 
unprepared. The performer enters and asks for the loan of a 
hat. Upon obtaining the necessary article it is placed crown 
downwards on the table. Professor now turns up his sleeves 
to the elbows, and his hands are shown to be quite empty, 
back and front, with the fingers WIDE APART. The hat is 
now taken (without the slightest suspicious movement) in the 
left hand. The right hand next makes a grab in the air, and 
there are two coins, which he places in the hat. This is re- 
peated till about 20 coins have been caught, but during the 
whole time the back and front and fingers of the right hand 
are shown to be absolutely empty, and not once do they ap- 
proach the body. By way of variation, a coin is sometimes 
passed through the side of the hat, being unmistakably heard 
to fall within ; or a half-dollar is thrown in the air, completely 
vanishing, and the hat held out a second or two afterwards 

5 


6 


MODERN COIN MANIPULATION. 


to catch the coin, which is also heard to fall into the same. 
A coin is placed between tips of first and fourth fingers of 
right hand, and pushed against bottom of hat, whereupon 
it instantly vanishes into the interior, making itself heard 
as it mingles with the other coins. The right hand now 
catches a dozen or twenty coins at once, dropping them all 
into the hat. This is continued until an enormous number of 
half-dollars is collected. These are turned out on to the table. 
One is now taken in the left hand and passed completely 
through one and then both lyiees, then passed from hand to 
hand. Now the audience is asked to name any number, which 
we will say is 15, whereupon the performer proceeds to catch, 
one at a time, the half-dollars on tip of his wand, immediately 
passing each one invisibly into the right hand, where it makes 
its appearance between the first finger and thumb — this being 
continued until the whole 15 are produced. Six coins are now 
vanished and both hands shown empty, when the former are 
produced in a fan from the back of the left hand. In conclu- 



Fig. 1. 


sion, after several other sleights hereinafter described, the 
performer gathers up all the coins on the table— somewhere 
about 40 — makes the pass with this huge pile, when lo ! they 
have vanished, but are immediately reproduced in a shower 
from the bottom of the vest. 

As the above depends chiefly on what is termed the 44 Con- 
tinuous Front and Back Hand Palm,” it is proposed to de- 
scribe this in minute detail first. The object is to conceal a 
coin in the hand, yet at any moment showing back and front 
quite empty, extending the fingers and thumb as well, but im- 



MODERN COIN MANIPULATION. 


7 


mediately producing the coin when desired at the finger tips. 

If the reader desires to excel in this particular sleight, he 
should, first of all, select a coin which best suits his fingers. 
The author always uses a half-dollar as being best adapted to 
the size of his hands. The smaller the coin used the more 
difficult to successfully carry out the trick. It is therefore, 
advisable, perhaps, to start with a larger coin, say a dollar, 
and follow this up gradually with smaller coins, until you 
find one which exactly suits the width of your fingers. 

To commence the trick the coin is placed on the front of 
the hand, being gripped between the tips of the first and 



Fig. 2. 


fourth fingers (see Fig. i). You now draw down the two mid- 
dle fingers until the points rest behind the coin at its lower 
end. If you now exert with these two fingers a slight pres- 
sure on the lower part of the coin it revolves between the first 
and fourth fingers (see Fig. 2), and, upon the performer now 
extending carefully the two middle fingers, these stretch out 
in front of the coin (see Fig. 3, which represents a back view) 
(which is now held in same position as at first, except that it 
is at the back instead of the front of the hand), the coin being 
quite invisible and appearing to have vanished. To cover this 
movement, which, of course, should be executed with light- 
ning-like rapidity, the performer makes a short movement 
with the hand as if about to throw the coin away. The slight 
movement facilitates the deception to a great extent. Now, 
to make the coin reappear, the above movements are simply 
reversed. This novel movement should be acquired by both 
hands, which should perform it with equal freedom and ease. 



8 


MODERN COIN MANIPULATION. 


With considerable practise this can be accomplished with 
more than one coin. Fig. 4 shows the author’s hand with six 
coins back-palmed. 



Fig. 3. 


The above is the original form in which the trick was in- 
vented by the author sixteen years ago, but since then he 
has naturally made vast improvements in same, and the fol- 
lowing is the correct manner in which he performed the 
“Continuous Front and Back Hand Palm,” at the Palace 
Theatre, London, in 1899, for six consecutive mouths. If the 



reader will take the trouble to compare other descriptions of 
this palm, with the details herein given, he will at once see 
the extent of the knowledge of the different writers who have 
compiled these “counterfeit” descriptions 



MODERN COIN MANIPULATION. 


9 


When the coin has been reversed to the back of the hand, 
as in Fig. 3, the little finger moves away from the coin, which 
is left gripped between the first and second fingers. The third 


Fig. 5. 

and fourth fingers are now spread wide apart (see Fig. 5) to 
show there is nothing between them. The third finger moves 
up at the back of the hand behind the coin, which it pulls be- 




FlG. 6. 

tween it and the second finger, where it remains gripped as in 
Fig. 6, enabling the performer to show the back of the hand, 
and demonstrate that there is nothing between first and sec- 




IO 


MODERN COIN MANIPULATION. 


ond or third and fourth fingers. Now, the thumb pushes the 
coin through from the front of the hand to the back, still 
gripped between the second and third fingers, enabling the 



Fig. 7. 


front of the hand to be shown, with the first and fourth fin- 
gers extended as in Fig. 7. The little finger next comes up 
behind the hand and grips the coin in exactly the same way 



Fig. 8. 

as the third finger did previously, enabling the first, second 
and third fingers to be shown empty (see Fig. 8). The second 
finger now grasps the coin from the back, so that it is now 





MODERN COIN MANIPULATION. 


ii 


held as before in Fig. 7, between the two middle fingers, again 
allowing performer to show there is nothing between first and 
second or third and fourth fingers. The coin is then picked 



Fig. 9. 

up with the first finger and gripped between that and the sec- 
ond finger, as already seen in Fig. 5. Next the fingers are 
bent ’round towards the palm, and with the assistance of the 



Fig. 10. 


second and third fingers the coin is transferred to the palm of 
the hand (see Fig. 9), thereby allowing the performer to show 
the back of the hand with all the fingers and thumb extended 




12 


MODERN COIN MANIPULATION. 


(see Fig io). It is now picked up with the two middle fingers 
and replaced between the first and second fingers, being exactly 
the reverse of the previous move, enabling the front of the 
hand to be now shown. By next placing the third finger up be- 



FIg. ri. 


hind the coin, the same can be placed at back of thumb (see 
Fig. ii), where it lies gripped in the fleshy part, so that the 
performer can now show front of hand empty, but with the 
fingers extended. The hand is now closed, the coin being al- 



FlG. 12. 


towed to drop in, and then opened, whereupon the coin is 
produced. The author uses all of the above passes in his en- 
tertainment, and, of course, to work the Back and Front Palm 
la an absolutely correct manner, a considerable amount of 




MODERN COIN MANIPULATION. 


13 


practice is necessary. However, to produce many brilliant 
effects it is only essential that the performer should be ac- 
quainted with one or two of the moves, but if the reader ever 
desires to become a strictly first-class Coin Manipulator he 
should practise, practise, and keep on practising until all the 
above sleights become second nature to him, and he can then 
defy even expert conjurers to tell where the coin is. All the 
above should be done with both hands, as mentioned before, 
thereby enabling the performer to exhibit some combinations 
that appear nothing short of supernatural. The author lias 
devoted considerable space and time to the above description, 
but he believes it is in the best interests of the Magical Art 
for him to have done so, bearing in mind how professional 
and amateur magicians are being deceived by productions 
compiled by unscrupulous parties purporting to expose his 
Act. 

Having described the principal secret of this Act, the author 
will proceed to explain the Act itself and then the various 
additions. 

Before going on the stage, the performer places 20 half-dol- 
lars in his right-hand waistcoat pocket and 15 in his right- 
hand trousers pocket. A hat is borrowed, and, while taking 
the same in his left hand, the coins from the waistcoat are 
palmed in his right, and placed like a flash of lightning under 



Fig. 13. 


the bent-over side of the rim on the outside of the hat (see Fig. 
12), which is placed with the same hand, crown downwards, on 
the* table. Now, if the coins have been placed neatly and prop 



MODERN COIN MANIPULATION. 


erly on tbe rim when the hat is turned over, they will remain 
where you put them, but this is the most delicate part of the 
trick, as uuless you are exceedingly careful some, or all, will 
fall as the hat is put on the table, and, in the words of a popu- 
lar song, “There would be no show that night.” With prac- 
tise, however, this can be accomplished. A would-be-author, 
in “exposing” the above, not knowing how it was possible to 
place the coins on the rim of the hat and then turn it over, 

has, in his exceeding cleverness ignored this move altogether. 
Yet, this is the most delicate and at the same time puzzling 
move of the performance. This ignorance is probably due to 
his “many years’ experience.” 

The performer now casually turns up his sleeves and re- 
marks : “ With the permission of the ladies I will remove my 
cuffs, or rather turn them up to the elbows.” The hat is now 
taken up with the left hand, the fingers of which get hold of 
the coins under cover of the rin^ The hat is next passed into 
the right hand to show the left empty, and the artist will find 
with practise it is quite easy to pass the coins with the hat from 
hand to hand. The hat is now taken by the edge nearest the au- 
dience, aud, with right hand, turned over so that the fingers of 
the left hand containing the 20 coins are brought into the in- 
side of hat (see Fig. 13), in position for the money-catching. The 
right hand is now shown empty, and makes a grab in the air at 
an imaginary coin, immediately placing it (apparently) in the 

hat, where it is heard to fall, but, in reality, it is a coin 
dropped from the left hand. This is repeated, and, as 
the hand goes to the hat to make a pretense of dropping in a 
coin, two coins are quickly palmed in the right hand. You 
look in the air for more coins, and one of those palmed is 
now produced at the finger tips (the mode of which is des- 
cribed on page 5), and visibly dropped into the hat. You 
now produce the second one, but, instead of placing this in 
the hat, one is dropped from the left hand at the same mo- 
ment that the right approaches the top of the hat, thereby 
inducing the audience to believe that the visible coin was 
really placed in the hat. This is repeated as often as desired, 
and, by means of the “Continuous Front aud Back Hand 
Palm,” before described, the right hand can at any moment 
be shown apparently empty. 

Additional effects are produced according to the fancy of 
the performer. The apparent passing of a coin through the 
bottom of the hat never fails to bring forth plenty of applause. 
This is accomplished by holding the coin in the manner de- 
picted in Fig. 14. The back palm is now made (see Fig. 15), 
one coin being at the same time dropped from the left hand 
into the hat, creating the necessary “jingle,” and the illusion 
is perfect. A similar effect can be produced by holding the 


MODERN COIN MANIPULATION. 


*5 


coin between the tips of the first three fingers and thumb and 
pretending to push it through the side of the hat. What 
really happens is that the coin is pushed by the hat down be- 
tween the fingers (the 
back of the hand fa- 
cing the audience) 
which hide it, one, of 
course, being dropped 
by the lift hand to 
create the necessary 
deception. It is as 
well to pay particular 
attention to these lit- 
tle moves, as tl^ey in- 
variably create more 
furore than bigger 
and more difficult 
sleights. 

A coin is now ap- 
parently thrown in 
the air, and caught in 
the hat a few seconds 
later. The coin is, of 
course, palmed in the 
act of throwing up 
the hand, and the hat 
is held out in the left 
hand as if waiting for 
the coin, which, at 
the right moment, is 
dropped from the left 
hand. 

When the first load of coins is exhausted, the performer 
makes a bold move. He pretends to hear some one make a 
remark that he gets the coins from his pocket — “Which 
pocket?” he replies; “The left one?” and places his left 
hand into the pocket so as to suit the action to the word — 
“No, the right one?” — now placing his right hand into the 
pocket, which forthwith palms 15 coins previously placed 
there. “No, ladies and gentlemen, if I were to place my 
hands in my pockets you would all see me. Please see that 
my hands do not approach the body.” Meanwhile, he has 
got the palmed 15 coins onto the rim of the hat, as explained 
at the commencement of this description. The hat is then 
plaed, if desired, on the table, crown downward, and the 
hands shown perfectly empty. The same process as before is 
now repeated. 

If the above movements are executed with a certain amount 



Fig. 14. 





16 MODERN COIN MANIPULATION. 


of sangfroidy and without appearing to be in a hurry 
to place the hands in 
your pockets, not one 
iu a thousand would 
guess that you were 
“loading” — it being so 
barefaced a proceeding 
the audience never 
dream that you would 
be so bold as to deceive 
them iu this decidedly 
simple yet effective man- 
ner. 

Now, when this last 
lot of coins becomes ex- 
hausted, another ruse is 
resorted to by the per- 
former. His right hand 
dives into the hat and 
rattles the coins to show 
they are real ones, at the 
same time letting them 
pour in a shower from 
the hand into the hat. 

He repeats this once or 
twice, and then palms, 
say, a dozen, which, of 
course, enables him to 

go on catching them FlG. IS. 

singly (producing them 


it finger tips as described ou page 17). or to mak« a grab in the 




MODERN COIN MANIPULATION. 


17 


air and produce the 12 in a fan (see Fig. r6),with the remark that 
“When I desire more than one at a time I make this move. 
The above can be repeated, if desired, but it will usually be 
found that 30 to 40 coins will take some time to “catch,” pro- 
vided the performer is not unduly quick about it. This niust 
be avoided, and the artist must go about his business 111 an 
easy manner, without any jumps or jerks so common with un- 
finished performers. To practise before a looking-glass is all 
very well, but before your friends is better, as they are there- 
by enabled to give you hints as to mistakes, etc., which u is 
impossible for you to see yourself in a glass. 


Next comes the 

PRODUCTION OF ANY NUMBER OF COINS 
AT FiNGER TIPS. 

Before the hat is replaced on the table the audience is asked 
to name any number, which we will suppose is 15. The per- 
former, who has in the meantime been “jingling” the coins 
in the hat, quickly palms the desired number, and re- 
places the hat on the table (to palm the correct number in- 
stantaneously requires considerable practice, but the author 
is enabled through constant exercise to tell exactly how 
many he picks up by the feel and weight). Both hands are 
now shown empty by means of the “ new Change-over Palm, 



Fig. 17. 


described 011 page 20. The magic wan<j is taken in the left hand, 
and the coins caught on its extreme end one by one, each being 
then invisibly passed from the wand to the right band finger 



i8 


MODERN COIN MANIPULATION. 


tips. The wand used is, of course, the old “Half-dollar” 
Wand, but the one the author has been in the habit of using 
was improved by him to the extent that it works noiselessly, 
this being brought about by a series of minute pieces of rub- 
ber operating in the “Coin” end of tbe wand, which prevents 
the edges of the opening “clicking” together when the half- 
dollar is caused to appear or to vanish. 

The coins are palmed in the right hand. To produce them 
one by one at the finger tips, the two middle fingers are bent 
down towards the coins as in Fig. 17. The third finger 
pushes up the bottom one (that nearest the wrist), same being 
immediately gripped between that finger and the second, 
which instantaneously places the coin between the tips of the 
first finger and thumb, the second one being placed behind 
this, and so on till the whole 15 have been “produced.” The 
left hand, of course, makes a motion of catching a coin on the 
wand each time and shows the coin, which is withdrawn into 
he wand in the act of throwing it towards the right hand. 

The coins are now counted, one at a time, from the right 
hand into the hat. If, by any chance, 
you should have made a mistake in 
the number asked for, it is easy when 
counting them at the conclusion to 
“miscount” one or two. 

TO PASS A COIN THROUGH THE 
KNEES. 

To bring about the above effect a 
half-dollar is palmed in the right 
hand, and another taken between 
the second and third finger tips (the 
latter being, of course, visible to the 
audience). Left hand is now shown 
empty, and the visible coin placed 011 
the left fingers in readiness for the 
Back Palm, the left hand being placed 
-horizontally against the right knee. 
The right hand now points jit the coin 
in the left hand in a casual sort of 
way (in reality to show nothing be- 
tween fingers or at back of hand), 
then shows the front of the hand 
(in the meantime, of course, reversing the coin to back 
of hand), and places it in a similar position on the op- 
posite of the knee to the left. Fig. 18 will show the 
correct position. The coin is now back-palmed by the 
left hand — at the moment of doing which the coin back- 





MODERN COIN MANIPULATION. 


19 


palmed in the right hand is brought to the front, the same 
having apparently passed completely through your knee. 
This can be repeated once or twice. The performer then pre- 
tends to overhear a remark, “Pass it through both knees,” 
and replies, “Through both knees? Oh, certainly; however, 
it’s more painfu.,” and he repeats the trick, apparently pass- 
ing the coin through both knees, making, of course, not the 
slightest difference in the modus operandi. 

THE ILLUSIVE PASS° 

The performer takes, we will say, six coins between the 
foremost sections of the middle and third fingers of the right 
hand, spreading out at the same time the other fingers, pre- 
senting to the public the back of his hand. The left hand 
now approaches the right as if to take away the coins (see Fig. 
19), and, in fact, really, takes them away the first time. Then, 
apparently overhearing a remark to the effect that they are 
not in the left hand, he opens it and shows the coins. Same 
are again taken between the tips of the second and third fiu- 



Fig. 19. 


gers of the right hand and the left hand makes the motion of 
taking the coins, while under cover of the fingers of the left 
hand, the two fingers of the right hand, containing the coins, 
are bent round the thumb of the left hand, and the coins left 
palmed in the right hand, the two fingers immediately return- 
ing to their original position, the left hand moving away as if 
it contained them (see Fig. 20). The above movements are made 
very clear in the accompanying illustrations, though they may 
appear almost impossible of execution. In the first place, the 




20 


MODERN COIN MANIPULATION. 




different moves should be made very slowly, with, say, 2 coins ; 
but the reader will understand that in the actual execution of 
this feat before 
an audience, ev- 
erythiugisdoue 
so quickly that 
it is quite im- 
possible for a 
spectator to tell 
whether the 
coins are really 
taken in the left 
hand or not. 

Aliy one who 
may have wit- 
nessed the au- 
thor’s perform- 
ances will, he is 
sure, bear wit- 
ness to thisfact. 

Now upon the Fig. 20. 

left hand being opened and shown empty, the right hand can 

also be shown empty by 
means of the following : 


NEW CHANGE-OVER 
PALM. 


When the left hand is 
opened, the right hand, 
which contains the coins 
palmed, is brought face 
to face with the left one, 
and the coins transferred 
to the palm of the left 
hand, which is immedi- 
ately turned ’round (un- 
der cover of the right) 
to show (apparently)that 
there is nothing at the 
Fig. 21. back, and then the right 

hand can be shown emp- 
ty back and front (see Fig. 21). The left hand is next turned 
round under cover of the right haud, and the coins re-palmed 
in the right (see Fig. 22). This is an exceedingly difficult 
sleight, and requires a considerable amount of delicacy in 
manipulating. It is very desirable to have the coins alJ 




MODERN COIN MANIPULATION. 


21 


all of the same size and thickness, otherwise one or more 

may slide out from 
the rest in the act 
of transference. 

The coins can 
then be produced 
as fancy indicates, 
by catching them 
one at a time, or 
in a fan from the 
back of the left 
hand ; but a suita- 
ble mode of pro- 
duction will readi- 
ly suggest itself tc 
a performer who 
has thorough] y 
mastered the above 
two passes. The 
author can safely 
state that when 
once proficient in both of the above the performer can do prac- 
tically just as he likes with half a dozen coins, and he there- 
fore considers it one of the most useful passes in existence. 

DOWNS’ NEW “CLICK” PASS. 

As the trick about to be described relies almost entirely or 
the above-named new and original “pass,” the author has 
thought it only fair to give it the above title. Once acquired 
it becomes a most useful and one of the most puzzling and de- 
ceptive sleights extant. 

The mode of performing it is as follows : Ten coins are bor- 
rowed and placed unmistakably in the left hand. All are sat- 
isfied that the coins are really in the left hand, they being 
heard to fall therein. The right hand now picks up an ordi- 
nary empty glass tumbler and holds the hands wide apart. 
The coins are commanded to pass, one at a time , from the 
closed left hand into the glass, held in the right, which they 
proceed to do, the beautiful part of the experiment being 
that each coin is distinctly seen and heard to fall into the 
tumbler. After about, say, eight coins have passed, the per 
former pretends to hear some one say that there are no coinj 
in the left hand. He immediately opens the left hand and 
shows the two remaining coins. The hand is closed, and the 
two that are left to pass singly into the glass held in the right 
in the same manner as their predecessors. 

To produce the above illusion it is necessary to study care 




22 


MODERN COIN MANIPULATION. 



fully the accompanying illustrations which explain fully the 
“click” pass before referred to. The coins are first placed in 


Fig. 23. 

the right hand, as in Fig. 23, and the hand is then quickly 
turned over, the coins being apparently transferred to the left 



Fig. 24. 


hand, but in reality the third and fourth fingers of the right 
hand arrest their fall, see Fig. 24 (thereby creating a sound or 
“click” as if the coins had fallen into the left hand), and 





MODERN COIN MANIPULATION. 


23 


forthwith palm them in the right hand. If the foregoing be 
tried once or twice it will be seen what a perfect illusion it 
produces. Now with the right hand (containing the palmed 
coins) pick up the tumbler as in Fig. 25. By slightly relaxing 
the muscles of the palm of the' right hand, the coins are re- 
leased, one at a time, and 
fall into the glass (see Fig. 

26). A considerable amount 
of practice and delicacy of 
manipulation is essential to 
ensure the coins dropping 
singly. The additional ef- 
fect of being able to show 
two coins in the left hand, 
after eight have passed into 
the tumbler, is brought 
about by finger-palming in 
the left hand two dummy 
coins, pivoted together, 
which admits of their be- 
ing spread apart to look 
like two coins. These are 
shown, and in the act of 
again closing the left hand, 
they are reverse-palmed, 
and the fact of their being 
riveted together enabling 
this to be accomplished 
with ease. 

The author can confi- 
dently recommend the 
above trick as being one 
of the best with which he is acquainted, and if enough atten- 
tion is paid to all the detaila, the performer can easily de- 
ceive expert conjurers who are unacquainted with the mo- 
dus operandi. 

DOWNS’ NEW “FAN” PASS. 

This is another favorite pass, invented by the author. The 
coins are held as in Fig. 27. The right fingers now allow the 
coins to slide down, one after another with a jingle into the 
palm of the left hand, which forthwith closes up on the same, 
but just as it does so the two middle fingers of the right hand 
grip the coins and immediately palm them in the right hand. 
If this is carried out neatly, and under cover of the movement 
of the left hand, the spectators will be absolutely convinced 
that the coins still remain in the left hand. 

The foregoing is a very useful method of causing the disap- 






MODERN COIN .MANIPULATION. 


rhe left hand. Of course, considerable practice is necessary 


pearance of a number of coins, after having produced them in 
a “fan.” 

THE DOWNS' “ EUREKA n PASS. 


The author has extreme pleasure in 
the following description of the pass tc 
which he has given the above title, in 
taking the reader into his confidence 
and explaining to him fully what the 
writer conscientiously believes to be his 
most novel, puzzling and prettiest feat. 

The pass is used for the vanishing of 
any number'of coins, up to 20, one at a 
time. 

The coins are lying on the table. 
One is placed in the right hand as in 
Fig. 1 (in readiness for the back palm). 
This is made and both hands shown (ap- 
perently) empty. The left hand now 
picks up another coin by the first finger 
and thumb, and proceeds to place it on 
the right hand in the position occupied 
by the first (see Fig. 28), but in the act 
of doing so the two middle fingers of 
the left hand go to the back of the 
right and remove the firs£ coin (see 
Fig. 29). The left hand now leaves 
the second coin on the right hand, 
which back palms it, the left hand in 
the meantime paiming coin No. 1 . 
This is repeated until the whole of the coins are palmed in 



MODERN COIN MANIPULATION. 


25 


to palm the coins one after the other without noise, but this 
is not so difficult if the first coin is palmed as per Fig. 9, and 



Fig. 28. 


each following one is placed under the preceding one. 



Fig. 29. 


THE “ TURN-OVER ” WITH FORTY COINS. 

This feat the author considers to be one of the best in hi/ 
whole act, for the simple reason that no one has yet eveu at- 
tempted to duplicate it publicly. Others have tried it and 




26 


MODERN COIN MANIPULATION. 


have got as far as making the coins turn one way , but there 



Fig. 30. 


they stop, it being next to impossible for them to make them 
return without the use of the other hand. 



Fig. 31. 



The coins are spread from the very tips of the fingers of the 
right hand to the wrist (see Fig. 30). Now, by slightly con- 


FiG. 32. 

tracting the palm the whole row of coins turns completely 
over in pretty fashion. Fig. 31 shows the coins in the act of 






MODERN COIN MANIPULATION. 


27 


turning. Fig. 32 shows them turned completely over. Now 
by a delicate jerk with the tips of the two middle fingers the 
coins are made to assume their original position. The author 
is able to turn the coins over quite slowly and also do the re- 
verse movement in the same manner. This makes the trick 
more effective, but it is exceedingly difficult of accomplish- 



Fig. 33. 

ment, though, of course, it can be done with sufficient prac- 
tise. The author fears that at first sight some of the sleights 
mentioned in this book may appear impossible of successful 
execution, and he therefore begs to say that he has described 
nothing but what he has accomplished himself, each of the 
experiments herein contained being quite practical. 

THREE DISTINCT METHODS OF PALMING COINS 
AT THE SAME TIME. 

Fig. 33 represents an illustration of the author’s hand palm- 
ing coins in three different styles— ordinary, thumb and finger- 
palm. It is, of course, on rare occasions found necessary to make 
use of the three at one time, but it is useful to use two of them 
when, for instance, the performer desires to change, secretly, 
some borrowed coins for substitutes. The latter are, first of 
all ordinary or finger-palmed, and the borrowed ones received 
and thumb-palmed, the duplicates, which the audience imagine 
to be the borrowed ones, being simultaneously placed in full 
view. By means of a judicious combination of the above 
palms a number of excellent tricks will readily suggest them- 
selves to the performer. 



28 


MODERN COIN MANIPULATION. 


TO PALM AND MAKE THE PASS WITH FORTY COINS. 

The above trick of the author’s is, in all seriousness, de- 
scribed in a certain “Serio-Comic” Coin-Trick book as being 
“ simple enough ” if you do this and do that, etc. No greater 
mistake was ever made, dear reader, and to conclusively prove 
this to you, the writer may tell you that innumerable imitators, 
for the purpose of performing this feat, have a wire, 2 to 2 l / z 
inches in length, soldered in a perpendicular position to the 
middle of a half-dollar. This lies with the thirty to forty 
half-dollars on the table. These latter coins have in each 
case a small hole drilled through the centre, and in gathering 
them up they are each threaded on the wire attached to the 
trick coin. It is then, of course, an exceedingly easy matter 
to palm them, as none of the coins can slip owing to the wire. 

Now to describe the correct method as employed by the au- 
thor. The pile of thirty to forty coins is taken between the 

fingers in exactly the same 
manner as described in 
“The Elusive Pass.” The 
right hand now makes a 
motion of passing the coins 
into the left, but in reality 
the two fingers holding the 
coins bend ’round and palm 
them in the right hand, in 
the position shown in Fig. 
34, the left hand closing at 
the same time and the right 
hand keeping in an upright 
position pointing at the left. 
The left hand is now shown 
empty. The right hand can 
be brought down to 
hang in a natural position 
by slightly bending the 
third finger ’round on to 
the top of the coins, which 
keeps them from falling, and the same can be produced in any 
manner the performer desires. 

The author’s favorite method is to produce them in a shower 
from under the vest. This is accomplished in the following 
manner : As the right hand (containing the coins) lifts up the 
edge of the vest with the first finger and thumb, the third 
finger, which it will be remembered is supporting the coins, 
pushes them under the vest. The stomach is now expanded 
and the hand can almost be withdrawn, and by gradually 
drawing in the abdomen the coins escape, a few at a time, and 




MODERN COIN MANIPULATION. 


29 


fall into the right hand which is waiting to receive them. In 
connection with the above, the following line taken from Die 
Zauberwelt , of rst June of last year, illustrates what can be 
attained by practice : 

“ Mr. Downs has reached the highest degree of perfection 
that could possibly be attained, or ever will be attained, in 
this special branch of palming coins.” 


30 


MODERN COIN MANIPULATION. 


CHAPTER II. 


A SERIES OF ABSOLUTELY NEW AND ORIGINAL COIN 
VANISHES AND PASSES. 

The following methods, which are numbered, are for causing 
the disappearance of one coin only : 

No. i. 

Encircle the thumb with a human hair loop that will reach 
to the centre of the back of the hand, and place a pellet of 
wax on the knot. Place the wax under the thumb nail. Bor- 
row a coin and press the wax against one side. Pretend to rub 
it with the other hand, which drops it behind the right hand, 
and show empty hands. Place the hands together and bring 
it back to the palm. Remove the wax, which you eonceal un- 
der the nail again. This feat can be executed by employing 
the reverse palm where the coin is palmed in the fork of the 
thumb, the coin being dropped behind the hand instead of be- 
ing palmed. The coin can then be replaced in the palm by 
swinging it over the hand or by using both hands. The loop 
can be discarded or kept on the hand. 

By employing both sides of the wax two coins can be made 
to vanish, one after the other, or both at one time. 

No. 2. 

A spectator places a handkerchief on the table and a coin in 
the centre. The performer now folds the four corners over it 
and, unfolding, the coin has vanished and the hands are shown 
empty. 

This is an improvement on the old-fashioned method, which 
the author will not underrate the intelligence of his reader by 
describing. A wax pellet is removed from a vest button and 
held between the tips of the two first fingers, and transferred 
to a corner of the handkerchief, which is then folded. On un- 
folding the handkerchief the coin comes naturally into the 
performer’s hand. The handkerchief is nipped between the 
first and second fingers while the coin is taken between the 
thumb and the third finger tips and, under cover of the hand- 
kerchief, it is spun up the sleeve. 


MODERN COIN MANIPULATION. 


3i 


No. 3. 

A borrowed half-dollar vanished from the hands, and yet 
both sides of the hands are shown absolutely empty. 

Face audience, extend right hand towards the left and pre- 
:end to pass the coin to the left, but really palm it in the right 
naud, which then moves backward across the bosom and shoots 
ihe coin into the vest, the hand hiding the movement. 

No. 4. 

In this method of causing the dis- 
appearance of a borrowed coin, a 
half-dollar is laid on the table in 
full view of every one, yet at the 
w ord of command it instantly van- 
ishes. 

To bring about the above, it is 
necessary to be provided with a 
small piece of tin, painted black, 

(as per Fig. 35) with a double ed^e. 

On one side of same place a dab of 
wax. Now palm the tin, and when 
taking the coin press the same on 
wax and place it 011 the table. The 
tin being black (the same color as 
table-cloth), it is not noticed. At- 
tached to the tin is a piece of elastic 
running up the sleeve and, of course, 
at the right moment the performer 
releases the elastic, whereupon the 
coin is instantly drawn invisibly up 
the sleeve. 

NO. 5. 

Pretend to pass a half-dollar into 
the left hand, which close, really 
palming it between first and second fingers of right hand, ele- 
vate left hand and bring the right to the elbow, push up the 
sleeve a little further, at the same time inserting the coin be- 
tween it and the arm. Rub closed hand gently, open and 
show it empty. Now push the sleeve again and replace the 
coin on the inside of the hand, between the first and second 
fingers, and move the hand rapidly over the left, dropping it 
into that hand which you close. Make several passes over the 
hand, which then open and show coin. 

No. 6. 

Receive a coin iu the right hand, which close, so that the 
coin lies on the bottom joints of the first two fingers, and gen- 
tly press the base of the thumb against it ; extend the arm to 



Fig. 35. 


/ 


MODERN COIN MANIPULATION. 


32 


the right and insert the two last fingers of the left hand into 
pants pocket, and arrange the other fingers so as to form a 
“scoop,” the thumb pressing against the side of the hand. 
Move the right arm around in three perpendicular circles, and 
during the second time let the coin fly edge-wise from the 
right hand into the left, which allows it to drop into the 
pocket. The coin must pass rapidly from the right hand to the 
left, and always edgewise, as it then exposes less surface to the 
action of the air, consequently its flight is more rapid. Turning 
the body in the direction of the arm will facilitate the move. 

No. 7. 

Balance a half-dollar on the middle finger of the left hand 
and apparently strike it with the right palm (which in reality 
palms it) into the left hand, at the same time closing it. This 
is most deceptive and quite easy of performance. 

No. 8. 

Performer, without the aid of any appliance, substitution, 
palm, pass, body, chair or table work, causes a borrowed coin 
to vanish from and return to the hands, the sleeves being 
rolled up the whole time. This is a new and unique method 
of vanishing a borrowed coin. 

Slightly moisten the back of the left hand, receive the bor- 
rowed coin in the right hand and pass it on the back of the 
left with the finger, where it will adhere. Open the fingers so 
as to show nothing is concealed between them, then place the 
hands together and remove the coin to palm and rub the back 
of left with the finger tips to remove slight indentation. Use a 
smooth coin for this feat, as all the sharp edges will be re- 
moved from it and thus avoid making a deep impression, 
which cannot be quickly removed. 

No. 9. 

Performer holds between his fingers a coin which instantly 
vanishes, both sides of the hands being shown empty. No 
pass, rubbers, wire, hair or appliances of any description are 
used. 

Take the coiu between the thumb and two middle fingers 
and slap it on the left hand, which you close. Take up the coin 
and repeat. Now, as you pick it up again, throw it up the 
right sleeve and slap the left hand again, closing it. Show the 
right hand empty and push up the left sleeve. Apparently trans- 
fer the coin to the right hand and push up the right sleeve. Rub 
the hands together, whereupon the coin apparently vanishes. 

No. 10. 

The following is an extremely deceptive method of vanish- 
ng a borrowed coin : 


MODERN COIN MANIPULATION. 


33 


r\ 


Hold the coin in the hand ready for the reverse palm ; when 
this is accomplished, as you shoot the arm upward, the coin 
travels along the back of the hand up, or rather ‘‘down” the 
sleeve and both sides of the hands can be shown empty. 

No. ii. 

A half-dollar is shown, also both sides of the hands, to prove 
that no other coin is used. A borrowed handkerchief is throw 7 n 
over the coin and held by a spectator. The 
handkerchief is held over a tumbler containing 
water, into which the coin is dropped by the 
spectator. Upon removing the handkerchief the 
coin has mysteriously vanished. 

The coin used in this experiment, dear reader, 
is a “counterfeit” one, in fact, a glass disc on 
one side of which is a tinfoil impression of a 
half-dollar. This is worked off the disc under 
cover of the handkerchief and palmed, the disc, 
of course, being absolutely invisible in the water. 

The following sleights are adapted for use 
with six or more coins, the first of which we 
will call : 

A NOVEL ADAPTATION OF THE “ RATTLE- 
BOX ” IDEA. 

Eight coins are taken in the left hand and the 
same is shaken to prove they are there, in fact, 
the coins are heard rattling till the last minute. 

Upon opening the hand, however, the coins 
have completely vanished and are produced 
from the air. 

To prepare for this trick eight coins are placed 
in a piece of tubing, closed at both ends and 
perforated on the top and around the sides. 

This is then attached to a strap (see Fig. 36) and 
fastened around the wrist under the sleeve. 

Eight coins are borrowed and apparently passed 
to the left hand which is closed (the coins being 
palmed in the right hand). If the left hand is 
now shaken the coins in the tube will, of course, 
rattle, and give the audience the impression they 
are still in that hand. The hand is now opened, 
shown empty, and the coins are produced from 
the air, as in the “Miser’s Dream.” 

A RAPID PASS WITH SIX COINS. 

Hold six half-dollars by their edges between FlG. 36. 
the two middle fingers and thumb tips. Move 
the hand towards the left at the same time, allowing the 



34 


MODERN COIN MANIPULATION. 


coins to jump from the fingers to the palm, where you grip 
them. 

The above may sound difficult and is, in fact, difficult when 
first attempting it, but with practice it is quite easy, and if 
properly executed it produces a brilliant effect. 

DISAPPEARING PILE OF COINS. 

A number of coins are shown lying on a plate, piled up, 
taken in the left hand where they are seen, and the hand is 
closed over them. A handkerchief is thrown over the hand, 
and when removed, the coins have disappeared. 

Show a quantity of loose coins on a plate. Pile them up, 
and while so doing, palm a dummy “stack” in the left hand. 
Pretend to pass loose coins to the left hand, palming and 
dropping them in profonde, or in a box of bran, so that they 
will sink slowly and without noise. Borrow a handkerchief, 
show the dummy, grasp the handkerchief by the centre of one 
side and then spread it out over the left hand, and while so do- 
ing throw the dummy into the right, the handkerchief hiding 
its flight. Pick up the wand, in the act of which drop the 
dummy on the servante, touch the handkerchief with it, place 
it under your arm, and draw off the handkerchief and show it, 
and the hands, empty ; or omit the wand business and vest 
dummy while advancing close to audience. 


MODERN COIN MANIPULATION. 


35 


t 


CHAPTER III. 


MISCELLANEOUS COIN TRICKS, ILLU 
SIONS AND COMBINATIONS. 


THE EQUILIBRIUM OF SILVER. * 

The following trick was invented by 
the author as an improvement on an 
older trick of his in which the bor- 
rowed coins were balanced each on its 
milled edge on the top of a wand, which 
was subsequently published in one of 
the many books on Conjuring. The 
improvements on the old style will be 
very apparent, as in this trick the wand 
is entirely dispensed with, the coins be- 
ing borrowed and one at a time bal- 
anced on the extreme tip of the first fin- 
ger and then, to crown the marvel, all 
ihree are balanced one on the top of the 
other on the finger tip. Fig. 37 gives 
the secret of the trick: A A are two 
minute flesh-colored rubber bands en- 
circling the finger and supporting a 
very fine flesh-colored tube, through 
which the needle D runs, the latter be- 
ing pushed up and down by the thumb. 
The borrowed coins are, of course, ex- 
changed for duplicates, each of which 
has a hole drilled completely through 
from one milled edge to the other. It 
is therefore obvious that when a coin is 
placed in a perpendicular position on 
the finger tips and the needle pushed 
up into the drilled hole, it will adhere 
to the finger with ease. To balance 
the others the needle is pushed up far 
enough each time to enter the next 
coin. It is as well when endeavoring to 
balance the first coin to let it fall once 
or twice, thereby giving the impression 
that it is a feat of genuine dexterity. 






36 


MODERN COIN MANIPULATION. 


TO PASS TWENTY COINS FROM ONE HAND 
TO THE OTHER. 

In this trick the performer borrows, say, 20 half-dollars, and 
holds them spread out in a fan in the left hand (palm towards 
audience). The right hand is now shown empty, back and 
front, with nothing between the fingers, and is held out 
straight from the body. Coins now vanish from the tips of 
the fingers of the left, immediately reappearing in a fan be- 
tween the thumb 
and first finger of 
the right hand. 
The same move- 
ment can be re- 
peated as often as 
desired, the beauty 
of the whole ex- 
periment being 
that the palms are 
continually facing 
the audience. The 
above (apparently) 
sensational feat is 
accomplished by 
having made in 
duplicate a stack of 
20exceedingly thin 
imitation coins, 
with a rivet run- 
ning through the 
lot as near the edge 
as possible (see Fig. 38). which is soldered on to the top and 
bottom coin. This admits of the pile being spread out fan- 
wise, thereby preventing the audience from thinking yon are 
using a dummy. This imitation “stack,” being so thin and 
fixed together, enables the artist to make the ordinary back 
and reverse palm with the same. Thus he palms in the right 
hand one of the dummies. Borrowed coins are now taken in 
the right hand, apparently placed fan-wise in the left hand, 
but in reality he places the previously palmed dummy there, 
and while calling attention to his left hand the performer pock- 
ets the coins, palms the delicate dummy, then back-palming it 
to show both sides of the hand empty. The rest will be obvious 
to the reader. The borrowed coins can be reproduced in the 
next trick, but hundreds of methods of reproducing coins will 
occur to any one giving the matter a little attention. 

QUADRUPLE COIN. 

A borrowed coin is placed on an ordinary plate and immedi- 



Fig 38. 





MODERN COIN MANIPULATION. 


37 


ately is increased to four. Three coins are sec'retly attached 
to the bottom of a plate with soap. The borrowed coin is re- 
ceived on the plate. The hands are shown empty and the 
plate shifted from one hand to the other, during which a coin 
is removed and palmed between the fingers. The coin on the 
plate is now rubbed around the same and the palmed one is 
placed alongside it and both shown. Repeat until the coin 
has increased to four. 


GOLD versus SILVER. 

Two silk handkerchiefs are passed for examination, and six 
knots tied by spectators in each of them. The handkerchiefs 
are now hung from a ribbon passing between two chairs (see 



Fig- 39)* Six rings and six silver coins are borrowed and 
placed in a pistol. The audience is now asked which they 
prefer, gold or silver. On receiving a reply, the performer 
asks which handkerchief they desire metal to appear in. The 
performer now shoots at one handkerchief and then at the 
other and requests a spectator to remove the handkerchiefs 
from ’the ribbon and open the knots, whereupon in each of 
the knots is found a ring or coin, according to which hand- 
kerchief the knot belongs to. ... 

Two handkerchiefs are passed for examination, also two 
small bags, one la bled “Gold” and the other “Silver.” In 
the “ Silver “-labeled bag coins are placed, in the other rings, 
and the strings drawn tight to close the bags. These are 
placed on a plate (the last person to place the coin or ring in 
closing the bags) held by an assistant who, on returning ' the 
stage, substitutes two bags containing duplicate articles. He 



38 


MODERN COIN MANIPULATION. 


now retires and knots two duplicate handkerchiefs, which he 
vests, after placing rings in the knots of one and coins in the 
knots of the other. The professer, in the meantime, has the 
original handkerchiefs knottad. These he hands to the assist- 
ant, who pockets them, and hangs the others up instead in 
previously arranged places. The professor now places the 
bags in the pistol and asks which metal the audience prefer. 
Then he asks in which handkerchief they desire the articles 
to appear. On receiving a reply he shoots a pistol at the in- 
dicated article, and then, as he does not wish his pistol — a re- 
volver — to be encumbered with the other articles, he shoots at 
the other handkerchief and unties the knots, letting the arti- 
cles drop on the plates and then returns them to their owners. 
The audience has free choice of metals, but the handkerchiefs 
are forced in the usual way. 

N. B. — Place articles in handkerchief one at a time, and 
knot it so that the article is inside of the handkerchief instead 
of being inserted in the knot only. 

THE TRANSMUTATION OF METALS. 

A pile of gold and a pile of silver coins are each wrapped in 
a piece of paper and placed on separate plates, each then being 
covered with handkerchiefs. The hankerchiefs are touched 
with a wand and removed. On opening the parcels the silver 
has changed to gold and the gold to silver. Two paper tubes 
are now made and placed over each pile, upon removal of 
which the coins are found to have changed back to their 
original positions. 

Over the silver pile place a bottomless gold dummy, and 
over the gold pile place a bottomless silver dummy. Take 
two small pieces of paper and paste the edges together, en- 
closing between the paper a piece of tinfoil. Wrap the gold 
pile in this paper and place it on the table. Wrap up the 
other pile in a plain sheet. Move the hand quickly over the 
first pile, which you pick up, and drop the other in its place. 
Look confused, etc., pretending not to know which is which, 
then tear the paper to expose the tinfoil. Cover the plates 
with handkerchiefs after placing piles on them, touch with 
wand, remove the handkerchiefs and papers, and reveal the 
coins (dummies). After exposing the tinfoil, keep that side 
of the parcel to the rear, so that when the handkerchiefs are 
removed same will not be observe^. Throw unprepared paper 
where audience can get it, so that they will think the second 
paper unprepared also. Now take two other pieces of paper 
and form them into tubes, and double in the tops several 
times so that they will retain their shape (pinning them would 
not be a bad idea), and coyer each pile with them. Touch the 
piles with the wand and remove the tubes with dummies, re 


MODERN COIN MANIPULATION. 


39 



vealing coins in their original position, 
drop the “fake” on the servante, and 
hand the tubes for examination. The au- 
thor considers the above an extremely 
neat and effective trick, and no doubt the 
reader will add the same to his repertoire. 

VANISHING COINS FROM GOBLET. 

Three or four coins are borrowed and 
dropped into a goblet, which is then cov- 
ered with a borrowed handkerchief. On 
removing the handkerchief the coins have 
disappeared. 

Bore a %-inch. hole three-quarters of the 
way through a coin and solder a wire 
across the top of it. Bore J^-inch hole 
through the centres of two coins and a 
smaller hole through a fourth coin. Tie a 
thread to cross-bar and thread l /%- inch hole 
coins on, and then the smaller hole one 
(see Fig. 40), and place a wax pellet on the 
loose end. Drop the coins in the glass 
(see Fig. 41) and attach wax outside, and 
cover with handkerchief. Grasp thread 
through handkerchief, shake glass, and 
then remove them in handkerchief and 
drop on servante. 


MULTIPLYING COIN. 


(SLEIGHT-OF-HAND METHOD). 

Performer borrows a half-dollar, which 
by rubbing slightly he causes to increase 
to two, three, four and then five half- 
dollars, which can be examined. On be- 
ing returned he again rubs them, when 
all the coins excepting the borrowed one 
vanish one at a time. Sleeves are rolled 
up and hands shown empty before and af- 
ter the trick. 

Four coins are secretly palmed on the 
back of the hand, as illustrated in 
Fig. 42. The borrowed coin is received 
in the right hand, the hands are then FiG. 40. 

brought together and the coins A B 

C D are brought to inside of hands, one at a time. They are 
then passed for examination, and, when returned, D is palmed 
and then cba slipped underneath each other part way. Bor 


40 


MODERN COIN MANIPULATION. 


rowed coin is now returned to owner and the four coins 
pocketed. 

NEW COIN PRODUCTION FROM 
BARE HANDS. 

Performer turns up his sleeves 
and shows both hands perfectly 
empty, back and front, fingers 
wide apart (no coin holders, spi- 
ders, or false palms used). He then 
brings his hands together for a mo- 
ment, without approaching his 
body, and immediately produces 
six half-dollars. 

In explaining the modus operandi of this experiment the 
author has much pleasure in acquainting his readers with an 

entirely original and 
uovel method of pro- 
ducing the coins. Re- 
course is made to the 
old shell finger used for 
handkerchief produc- 
tions, etc. This is loaded 
with the well-known 
“folding” coins (see 
Fig- 43), and placed in 
position on the right 
hand between the sec- 
ond and third fingers. 

The hands can now, 
apparently, be shown 
quite empty, the addition of a fifth finger not being noticed if 
the hands are kept in motion. The hands are now brought 
together, the coins extracted and produced, the shell slipped 





Fig. 43. 


back between the fingers again, or palmed, and both hands are 
once more shown empty. 

The author has tried the above “ fake ” and found it practi' 
cal in every way. 



MODERN COIN MANIPULATION. 


41 


THE MONEY-PRODUCING CIGARETTE. 

While performing the Aerial Treasury the performer fancies 
a cigarette, so proceeds to take an amber tube out of case, in- 
sert a borrowed cigarette (if any one will trust him with one) 



in it, lights it casually and goes on catching money in the air. 
Suddenly a half-dollar appears at the red-hot end of the cigar- 
ette (see Fig. 44), at which the performer appears to be some- 
what startled, but he quietly blows the coin into the hat and 
goes on smoking as calmly as before, the beauty of the feat be- 
ing that his hands do not come near the cigarette or holder dur- 
ing the whole time. This effect can be repeated as often as 
desired. 

The above experiment, as doubtless many of my readers 
have conjectured, is a novel adaptation of the old half-dollar 
wand. The cigarette holder, although apparently an innocent 
piece of amber, is in reality a very neatly made money wand, 
with a hole large enough to take a cigarette, but the side 
turned away from the audience is capable of sliding like a 
telescope as far as the end of the cigarette (see Figs. 45 and 
46), and it is when in this position that the tongue moves a 
little stud in the mouth and forces the coin to appear and ex- 


42 


MODERN COIN MANIPULATION. 


pand, apparently, from the lighted end of the cigarette. By 
a reverse motion of the tongue the coin can be 
made to vanish. 

The above is quite a novel idea and the au- 
thor trusts his readers who are on the lookout 
for something new — and what “real” lover of 
magic is not ? — will appreciate it. 


THE COIN OF PHOENIX. 

A borrowed coin, the date of which is noted, 
disappears and reappears between the hands. 
It is then caused to adhere to the finger tip or 
to the wand, then it is rubbed between the 
hands, when it changes to a piece of paper 
upon which is found in writing the date of the 
borrowed coin. Paper is burned, whereupon 
the coin instantly reappears from the ashes 
and is returned to the owner. The borrowed 
coin is changed for a substitute and the lat- 
ter handed to a spectator to examine the date, 
and the borrowed one pocketed. The dupli- 
cate coin is now Changed for one with the 
edge cut so as to leave a hook as per Fig. 47, 
which enables the performer to attach it to 
various places. While the coin is attached to 
the wand, reverse-palm a small piece of paper 
containing the date of the coin. Bring the pa- 
per to the palm and reverse-palm coin. Show 
date on paper, which burn, and bring coin to 
palm of hand, substitute this for second coin 
and hand to the spectator that noted the date. 

NEW MONEY-PRODUCING CARD. 

Performer has a card selected from the pack, 
Fig. 45. which he holds between the fingers of the right 
hand, when suddenly a real half-dollar appears 
on the extreme edge of the same and then vanishes. This can 



Fig. 46. 


be repeated ad lib y and would form a pretty addition to the 
“ Miser’s Dream.” 



MODERN COIN MANIPULATION. 


43 


Fig. 48 will explain the secret 
of this effect, which is really an 
adaptation of the old money 
wand. O11 one card is glued 
firmly a brass slide b (see Fig. 

49), the end of which opens to 
allow the coin to pass out but 
shuts as soon as same is with- 
drawn (by means of springs). An- 
other card is now glued on the 
top of the other one on all sides 
excepting at the corner where the 
slide opens, so that the coin can 
appear and disappear at will. 

The card selected, which should be forced, is, of course, 




Fig. 48. 




MODERN COIN MANIPULATION. 


“changed” for the trick one, which after the trick is “re- 
clianged” for the selected one to pass for examination. 



THE MARVELOUS TRANSIT OF 
COINS. 

Two glasses are passed on a tray 
for examination. The audience are 
requested to place a few coins in 
one of the glasses. Two hats and 
two handkerchiefs are now bor- 
rowed. A handerchief is thrown 
over each glass, which is placed on 
top of a hat. The performer now 
invisibly abstracts coins from the 
one glass and passes them into the 
empty one where they are found. 

An empty glass is loaded into one 
of the hats. A glass containing 
coins is now placed in the same hat, 
but no, the professor alters his mind, 
takes it out again, and places it in 
the other hat. In reality he has 
left the glass with the coins in the 
first hat, and brought out the empty 
glass which is now in the second 
hat. The original empty glass is 
now placed in the same hat as con- 
tains the glass with coins. The lat- 
,ter is now picked up and removed, 
the empty glass being nipped with 
the fingers and the hat turned up- 
side dowu with glass on its side. 
The coin glass is now placed on the 
top of the hat, and the other hat 
turned upside down and the glass 
placed on the top. Coins are in- 
visibly extracted from the empty 
glass and shown — any palm desired 
can be used — coins vanish from the 
hand and pass into the other glass. 
The handkerchiefs are removed from 
the glasses wheu the change is 
seen. Hat with empty glass under 
is taken to a chair, the glass dropped 
on servante while nicking up a silk 
handkerchief from the top of it. 
One hat is now brushed and placed 
on the table, while the other one is 


MODERN coin manipulation. 


45 


brushed. A silk handkerchief is dropped on the table and the 
hats and borrowed handkerchiefs returned to the owners. 

NOVEL APPEARING COIN. 

Performer shows his hands empty and even allows them to 
be examined, yet upon rubbing them together a coin appears 
between them. This consists of a folding coin inserted in the 
end of the wand, which is hollow, and covered with a piece of 
black tissue paper. After showing the hands empty, the wand 
is apparently pushed further under the arm, in reality, how- 
ever, the tube on the end of it is pushed so as to eject the coin 
which is palmed, the hands then being brought together and 
the coin produced. 


THE NEW CRYSTAL TARGET. 



Ill the following explanation of the above trick the authot 



46 


MODERN COIN MANIPULATION. 


begs to bring before his readers what he considers to be a de- 
cided improvement on the old glass frame, and which is well 
worth the attention of the most fastidious performer. 

Professor now passes two panes of glass 6 inches by 12 in- 
ches, for examination, also two rubber bands. He places the 
two glasses together and puts the rub- 
ber bands around them, so that they are 
pressed tightly together, and hangs them 
from a cord attached to two rods which 
have been previously inserted in the ta- 
ble top. He now borrows three or four 
coins, which he loads in a pistol and 
shoots at the glass, when instantly the 
coins appear between the two pieces of glass (see Fig. 50). 
The glass is removed from the cord and given to a spectator, 
who opens the same and removes the coins, which are returned 
to the owners. The glass, etc., can again be examined. 

Two 6-inch by 12-iuch glasses (G). Two rubber bands and a 
piece of brass (see Fig. 51) that will keep glasses apart % inch, 
japanned black. Brass is placed between glasses at B so as to 
keep the bottom open. Make this as small as possible. Pre- 
pare coins as per Fig. 52, and place in 
slots cut in table top. The cord passes 
in under the bands from the top of one 
rod to the other. Double threads to 
keep the coins from turning are at- 
tached by wax pellets to the coins, 
and then passed upwards in front and 
over invisible wire — or to ceiling — to 
assistant. After the glass has been ex- 
amined in the first place, one pane is 
placed in front of the threads and the 
other behind, both are now laid down 
and the rubber bands put on, and whilst 
doing this the brass piece is put in place. 
The pistol is, of course, of the familiar 
conjuring pattern, and at the moment 
of firing the assistant pulls threads 
FlG. 52. causing the coins suddenly to appear 

between the glasses. Performer now 
removes glasses, the suspending cord being unhooked for the 
purpose, secretly getting rid of the piece of brass and brings 
the glasses forward, in the act of doing which the threads are 
dtawn out, leaving the coins attached between the glasses 
with wax. & 

The above is an excellent stage illusion. The author has in- 
troduced it on several occasions, to the entire satisfaction of 
his audiences. 




Fig. 51. 



MQDERN COIN MANIPULATION. 


47 


THE FLYING COINS. 


Six half-dollars are deposited in a small box by the specta- 
tors and the box placed in full view on the table. Performer 
shows his hands empty and applies, one at a time, two circu- 
lar paper discs to the flame of a candle when, as quick as a 
flash, they are transformed into two half-dollars, which drop 
from the flame. A piece of paper is shown empty, also both 
hands. Paper is rolled into a cone and placed in claret glass. 
One of the coins now vanishes. Picking up the other it mul- 
tiplies into two, one of which disappears. The coin again 
multiplies into two, the process being repeated until the one 
coin has multiplied five times and the six coins which have 
in this manner been invisibly extracted from the box van- 
ished. On the cone being opened the coins are found there- 
in. Same are replaced in cone, which is crushed and dropped 
into the glass held by a spectator. Performer now causes the 
coins to vanish from paper and to appear into a previously ex- 
amined envelope. On the envelope being opened five smaller 
ones are found therein, and within the smallest are found the 


six coins. 

The box containing the coins is substituted for a duplicate 
emptyone. The best way to do this is to hold both in one 
hand, the empty one being underneath, the hand is now 
shaken and the coins heard to rattle in the uppermost box, 
which is immediately (apparently) placed on the table, though 
in reality you leave the empty one on the table. Now reverse 
palm two coins in the right hand. Pick up the paper discs 
with the left hand and transfer one of them to the right, 
which applies it to the candle, and lets a coin drop. Repeat 
with the other disc. Multiply and vanish by reverse-palming 
at the back of the hand, by rubbing between the two hands, 
when the coin to be got rid of is palmed at the back of the 
hand on which they lay or by double-palming, etc. 


To place six duplicate coins in the cone, draw them from 
clip (see “New Money-Producing Candle”) under the table- 
top as you pick up the paper Form it into a cone and leave 
the coins inside. For vanishing the coins from the cone an 
empty cone is crushed and palmed. Cone with coins in is 
taken in the same hand, crushed, and an empty one substitu- 
ted and dropped into the glass. 

The nest of envelopes has a tube into the smallest one, 
through which the coins are dropped a la “Ball of Worsted ” 
—while the empty envelope is being examined. The original 
coins, of course, can easily be extracted from the duplicate 
box in your profonde or on servante preparatory to dropping 
into tube. 

The above illusion, if worked up well, with attention to 


48 


MODERN COIN MANIPULATION. 


all details, makes a very striking drawing-room feat. The 
author has performed the trick with great success. 

THE “DOWNS” GOBLET OF MYSTERY. 

An empty tumbler is covered with a handkerchief and placed 
on the table, a pile of coins disappears and is found in the 
tumbler when the handkerchief is removed. 

Fill a small sized tumbler three parts full of half-dollars and 
crush a piece of newspaper in the glass on top of them. Palm 

the glass in the left 
hand and take an 
empty tumbler be- 
tween the thumb 
and first finger (see 
Fi g- 53 )- Throw a 
handkerchief over 
the empty tumbler, 
and, while arrang- 
ing it seize the 
coin glass and turn 
it upright. Drop 
the hands and palm 
the empty tumbler, 
and seize the other 
with thumb and 
first finger, drop- 
ping the hands to 
hide the exchange. Take hold of the coin tumbler through 
the handkerchief and place it on the table, meanwhile pocket- 
ing the empty glass. Show the pile of coins and vanish by 
palming. Take hold of the centre of the handkerchief and 
paper, and remove both from the glass. Drop the paper on 
to the servante, or else introduce the hand under the hand- 
kerchief and palm it. 

THE MYSTERIOUS CLARET 
GLASS. 

The author here presents to 
his readers an entirely new, 
original and novel “Money- 
Catching” trick, the beauty 
of the feat being in the sim- 
plicity of the apparatus used. 

An ordinary large size claret 
glass, which can be freely 
examined, is taken in the 
right hand (which has pre- 

viouslv been shown empty) and held as in Fig. 54. 



Fig. 54. 



Fig. 53. 




MODERN COIN MANIPULATION. 


49 



I 



Fig. 55. 


The performer now walks ’round the room or stage, and 
commences to catch 
half-dollars in the glass 
without the left hand 
approaching same. The 
coins are not only heard 
but seen to fall into the 
glass. The coins and 
glass can afterwards 
be handed for exami- 
nation. 

Grip the stem of the 
glass with the middle 
finger and 
palm a 
stack of 
coins on 

the last joint of third finger, the middle knuckle 
of which rests on the top of the foot of the col- 
ored glass (see Fig. 55). Push one of the coins 
on the middle joint of the first finger and tip it up 
_so that it falls on the thumb nail, which throws 
it upwards above the glass into which it is caught. 
Repeat until all the coins have been similarly dealt 
with. The right hand can, first of all, be shown 
empty by means of the new “ Change-over Palm,” 

described on page 
20. 

The author rec- 
ommends the above 
experiment as be- 
ing (provided it is 
practised well) a 
very good illusion, 
which can be per- 
formed in a small 
room without any 
one ever dreaming 
where the coins 



Oowwe 


Dow** 


Fig. 57. 


come from. 


MAGNETIZED COINS. 


Fig. 56. 


Performer lays a number of coins on his arm so 
that they overlap each other. He now makes a 
few magnetic passes over them, when instantly 
they become firmly attached to each other and 
may be lifted as if made of a solid metal bar. A 
few more passes and the coins become as movable 




50 


MODERN COIN MANIPULATION. 


as before. This trick can be used in connection with any 
coin feat where a quantity of coins are used, and will be 
found extremely useful in various ways. Figs. Nos. 56 and 
57 will explain the secret. A “T ’’-shaped flange soldered on 
the tops of the coins just slides into a similar shaped groove 
in the bottom of the coins. 


THE DEMON GOBLET. 



Performer shows a crystal goblet 
empty and has it examined, yet a num- 
ber of coins appear in it, one at a time. 

Palm a number of coins in the right 
hand, pressing them against the wand 
which you hold in the same hand. 
Close the two middle fingers against 
the pile (see Fig. 58). Take the goblet 
in the left hand by the stem. Raise the 
end of the wand upright, at the same 
time pushing a coin with the thumb 
against the first finger. Make a down- 
ward stroke with the wand, at the same 
time allowing the coin to escape from 
the fingers into the glass, its flight be- 
ing hidden by the movement of the 
wand. Repeat until all the palmed 


Fig. 58. 

coins are in the goblet. 


THE SILVER QUESTION, 

Performer, after showing both hands empty, calls upon his 
banker to supply him with funds, when instantly a pile of 30 
coins appears in his hand. Being for the moment like Oliver 
Twist, and asking for more, another pile appears, while upon 


MODERN COIN MANIPULATION. 


5i 


making a still further request a third stack comes into view. 
The performer requests his banker to transfer two of the piles 
to his pocket. On this being done he rubs the remaining pile 
between his fingers and the same gradually decreases in size 
until it becomes a silver pow- 
der, which upon being fanned 
vanishes. 

Figs. 59 and 60 will give the 
explanation of the principal se- 
cret of this novel experiment. 

After the sleeves are turned up 
and the hands shown perfectly 
empty, the “load” is picked 
up from any convenient place 
with the thumb through the 
loop, so that it remains 011 the 
back of the hand. The hands 
are then brought together and 
the stack brought inside and 
the cross threads discarded. 

One, two and three shown af- 
ter each other, then one and 
two put together, palmed and 
pocketed. Both ends of three 
shown and coin which keeps lower end of tube closed — wax 
on it — transferred to the opposite end and four shown while 
you discard three in profoude, or on servante, while picking 






up the wand to touch pile with. Repeat with four. Now 
transfer coin on five to top, palm and leave filings in left hand, 



52 


MODERN COIN MANIPULATION. 


pick pu fan, getting rid of the “ fake ” at the same time, and 
fan left hand, letting the filings drop slowly on the floor. 

Second Method . — Omit coins from three and four and palm 
the “fakes” from one to five inside of each other in right 
hand, and discard one after the other while picking up the 
fan. 

Third Method . — In this way of doing the above trick you 
must be provided with two “fakes,” one fitting over the 
other and the two then just fitting over a stack of real coins. 
Three stacks are then produced in the course of the trick 
the two “dummies” vanished and the real coins can be used 
in another experiment. 


HANDKERCHIEF AS MONEY PRODUCER. 



Performer borrows a handkerchief, rolls up his sleeves 

shows his hands empty both side' 
and strokes the handkerchief, and 
instantly a number of coins drop 
from it. This can be repeated sev* 
eral times. 

Handkerchief is borrowed and 
then thrown over the back of a 
chair, and the sleeves rolled up. 
On picking up the handkerchief, 
a money tube, made of white ma- 
terial, with watch spring mouth, 
is picked up with it. On stroking 
the handkerchief , the ends of spring 
are pressed — a la “Shower of 
Sweets Bag”— and a few coins 
allowed to drop out. This move- 
ment is repeated until all are pro- 
duced. The hand is now inserted 
in the handkerchief, and the tube 
back-palmed by means of a catgut 
loop fixed to it, and the handker- 
chief returned to the owner. 

NEW MONEY-PRODUCING 
CANDLE. 

Performer, after showing his 
hands empty from both sides, ab- 
stracts a number of coins from a 
previously examined candle, and 
again hands candle for inspection. 

Caudle is unlighted when passed 
for examination. Performer on its 
being returned, takes a match from 



MODERN COIN MANIPULATION. 


53 


a partly opened box, as per Fig. 61, where it will be seen the 
end of the box is loaded with coins, and in the act of closing 
the box the coins are naturally forced out into his hand and 
palmed. These are then produced, apparently from the flame 
of the candle, and while this is being done he palms another 



Fig. 62. 


pile from the vest, which are also produced. He now moves 
the table nearer the audience, and at the same time removes 
a pile concealed in a clip underneath the table top (see Fig. 
62) which he also produces and finally palms another pile from 
the vest which he likewise catches from the flame, again pass- 
ing the candle for examination. 

THE DEMATERIALIZATION OF THIRTY COINS. 

The following experiment the author considers to be one of 


MODERN COIN MANIPULATION. 


the prettiest in the whole range of coin conjuring. The effect 
is as follows : 

Twenty-five to thirty half-dollars are borrowed and marked 
by the spectators for identity. The coins are now placed in 
an examined glass tube (a blown cylinder open at one end) 
just large enough to receive them. The latter is now corked 
and sealed by one of the audience, and is then held by him 
under cover of a handkerchief, The spectator holding the 
cylinder suddenly becomes aware of the fact that the same is 
getting lighter and lighter, and upon removing the handker- 
chief the coins are found to have entirely evaporated from 
same, and may be produced from his pocket or elsewhere at 
the option of the performer. The tube and cork remain in- 
tact. No confederates, etc. 

To bring about the above effect you must be provided with 
two blown glass tubes exactly alike in appearance. One of 
them, however, has a minute hole in the bottom, and is filled 
with quicksilver and corked up tightly. The cork also has a 
minute hole drilled through it lengthwise. When the bor- 
rowed coins have been placed in the examined tube the same 
is adroitly exchanged for the duplicate (the quicksilver through 
the glass giving exactly the same appearance as the coins), and 
it is this one that is sealed by the audience. Now, under cover 
of the handkerchief, the peifbrmer places over the bottom of 
the cylinder the mouth of a rubber tube, at the other end of 
which (in your profonde) is a bag made of the same material. 
Now upon slightly scratching the wax from over the hole in 
the cork, the air rushes in and forces the quicksilver gradually 
out of the tube, thereby making it lighter by degrees. The 
rubber tube is now secretly replaced in the pocket and the 
cylinder handed for inspection, during which the performer 
has ample time to get the coins out of the original glass tube 
(now in pocket) palm them and reproduce them where he 
pleases. 

The above trick affords considerable scope for comedy, es- 
pecially when the tube held by spectator becomes lighter, 
the effect appearing to him to be that the coins are really 
melting. It is not at all a difficult feat to accomplish, and if 
presented in a pleasing manner produces a beautiful effect. 

COIN PASSING THROUGH A TABLE, ETC. 

A coin is borrowed and the hands are shown perfectly empty 
otherwise. The coin now flies from one hand to the other, 
through a table, etc. 

Palm a duplicate on the left hand two middle fingers, bor- 
row one and pass it to the left, so that it comes in front of 
substitute, which you push with thumb so that both come to- 
gether and look like one. Now take them between the first 


MODERN COIN MANIPULATION. 55 


finger and thumb so that they look like one coin and pass 
them from one hand to the other, exposing both palms empty. 
Finally, take the coin between the tips of the middle fingers 
and thumb. Then a§ you pass the “coin” to the left hand, 
push only the inner one into the left hand, sliding the thumb 
over the front coin, which palm on thumb. The left hand 
now contains the 
substitute, and the 
right one the bor- 
rowed coin. You 
can now pass the 
coin from hand to 
hand, etc. Finally, 
again combineboth 
and show as one. 

The above is a 
very useful sleight 
and the author re- 
commends it as cre- 
ating, after a little 
practice, a perfect 
illusion. 

THE CRYSTAL 

COIN LADDER. 

The trick now 
about to be de- 
scribed and known 
among magicians 
by the above title 
was, the author be- 
lieves, invented by 
thecelebratedpres- 
tidigitateur, Rob- 
ert Heller. The 
author performed 
it for some time, 
but, owing to its 
exhibition by many 
imitators, he has 
discarded it and 
leaves it to the 
other ‘Coin Kings’ 
and ‘Queens,’ some 
of whom are now 
performing it. Be- 
ing purely a me- 
chanical trick, it 



Fig. 63. 



56 


MODERN COIN MANIPULATION. 


does not, of course, require much practice, but if presented in 
the manner herein described, it never fails to produce a good 
effect. 

Fig. 63 shows the “Ladder,” from which the reader will 
get a very good idea of what it is like. The “ steps ” in the lad- 
der are glass slabs, the metal work all being of polished brass, 
with a nice gold fringe around the top, which gives it a beau- 
tiful stage appearance. The mode in which the author pre- 
sented the trick was as follows : 

Six half-dollars were borrowed, together with an ordinary 
silk hat. The hat was suspended at the bottom of the ladder, 
as in the engraving. The coins were now placed in the glass 
tumbler, which was covered with a handkerchief, and placed 
on the top of the ladder. The performer now remembers that 
he intended to place more than six coins in the glass, and so 
proceeds, as in the “Miser’s Dream,” to catch a few in the 
air, which vanish from his hands and are unmistakably heard 
to fall into the tumbler (still on top of the ladder and covered 
with handkerchief). The coins in the glass are now com- 
manded to pass, one at a time , from the top to the bottom of 
the ladder, which they do, falling from one glass slab to an- 
other till they reach the hat at the base of the ladder. The 
tumbler is now taken down, still covered with the handker- 
chief, which the audience remove, when the coins are seen to 
have vanished, and upon the hat being examined, there are 
the coins. The six half-dollars originally borrowed are then 
handed back to the lender with thanks. Now for the secret. 

The top of the ladder is in reality a box containing the 
mechanism of the illusion. At the rear is a kind of drawer, 
into which six duplicate coins (or as many more as you intend 
using) are placed. Now upon an assistant in the wings pull- 
ing a cord, one of these coins is let through the top of the lad- 
der on to the first glass slab, the latter being arranged so that, 
when a coin drops on to it, the coin immediately slides to the 
lower edge and then drops on to the next slab — this being re- 
peated until the coin has reached the hat.' One of the vases, 
apparently placed on the ladder for ornament, is a trick one. 
A few coins are previously placed in the bowl of this vase and 
upon an assistant pulling another cord a piston rises, making 
these coins jump up and fall again. This latter effect is to 
produce the sound of the extra coins being invisibly 
passed into the tumbler. The glass used is, first of all, filled 
with water to prove that it is a genuine one, but in the act of 
throwing the water away, it is dropped on a servante be- 
hind a chair, and a duplicate one brought away, no one hav- 
ing the slightest suspicion that it has been changed if it is 
done neatly. The duplicate is devoid of any bottom. The 


MODERN COIN MANIPULATION. 


57 


borrowed coins are now dropped into the glass, which must 
be held ou the palm of the hand in a slanting position, so that 
the coins drop on side of glass, thereby sounding as though 
the glass was quite an ordinary one. The tumbler is now 
x covered with a borrowed handkerchief, the coins being palmed) 
and placed on the top of the ladder. The artist now pretends 
to have made a mistake in the number, and catches one at a 
time at the finger tips the coins he has already palmed, which 
vanish by means of the pass. The assistant pulls cord number 
two and coins are heard (apparently) to fall into the glass. 
Now command the coins to pass into the hat, which, of 
course, they do. Next remove the hat, turn it over on a 
plate, letting the duplicate coins fall out, but allow one or 
two to slip on the floor. In picking these up, mix with them 
the borrowed coins (which will be remembered are still 
palmed) and take to the spectator that lent them. The tum- 
bler is now taken down, the handkerchief removed, and if the 
former is held firm on the palm, not one in a thousand would 
ever dream that it was bottomless. 

THE TRAVELING COIN. 

For the purpose of the above trick it is necessary to obtain 
a very thin imitation half-dollar, 
through the centre of which a tiny hole 
is bored. Now push a pin half-way 
through the hole and solder it in this 
position. Cut away the “head” end 
of the pin and bend the pointed end 
over to lie flat on the coin (see Fig. 64). 

Now glue on the back of the coin a 
piece of cloth the same color as the 
coat worn by the performer, trimming 
it off neatly ’round the edges. Paint 
the shiny edge of the coin all around 
with black paint. 

The coin prepared in the above man- 
ner is now placed on the table, black side up, the magic wand 
lying in front of it. In the act of taking up the wand the ar- 
tiste palms the coin. He then borrows a half-dollar from a 
member of the audience, takes it in his right hand (which is 
also concealing the faked coin). He now transfers the bor- 
rowed coin, apparently, to the left hand (in reality it is the 
faked one), placing the borrowed coin with the wand on the ta- 
ble. (So that the audience cannot see the coin on the table, it 
is dropped behind some other article over which the wand is 
laid). , . 

The performer now shows the faked coin, placing the finger 
)ver the pin when so doing to prevent it being noticed. He 



h 




58 


MODERN COIN MANIPULATION. 


now lifts his right arm high, puts the coin with the left hand 
against the elbow of the right, fastening it here with the pin, 
the black side, of course, being outwards. Now he pretends 
to take it in his right hand (it is, of course, firmly attached to 
the right sleeve). Then he goes through a number of imaginary 
passes and eventually shows both hands quite empty. The 
wand is now picked up, together with the borrowed coin, and 
the same is produced at pleasure. 

The above idea admits of so many variations that the author 
has described it very fully. A similar idea might be very well 
employed in the “Miser’s Dream,” by having coins similarly 
prepared attached to various parts of the body, which could 
be palmed off invisibly and eventually produced as if from 
the air. 

THE SIXTEEN-TO-ONE SILVER TRICK. 

In this trick the author explains his original method of pro- 
ducing 16 coins, one at a time, from a borrowed one, the 
hands, first of all, being shown empty. 

The method of effecting the above, which the author be- 
lieves to be one of the best productions extant, is as follows : 

Palm 16 coins in the right hand in the same manner as in 
Fig. 34. Now receive the borrowed coin in the left hand and 



Fig. 65. 

proceed by means of the new “change over palm,” described 
on page 20, to show both hands otherwise empty. After the 
audience is convinced that nothing is concealed in your hands, 
take the borrowed half-dollar as in Fig. 65. The left hand 
now slowly passes over the right, under cover of which pick 
up a coin from the palmed lot, with the aid of the second and 
third fingers of right hand, and place it behind the borrowed 
one, the effect to the audience being that the left hand has 
simply passed over the right. To add additional effect, the 
left hand can again pass over the right, and then with the 


MODERN COIN MANIPULATION. 


59 


tips of the first finger and thumb remove the hindermost coin, 
it appealing to the audience that same was actually pulled 
out of the borrowed coin. This is, of course, repeated with the 

remainder. ,, 

A quarter of an hour’s practice after the “picking up 
movement has been acquired will be sufficient to prove what 
an effective “production” the foregoing is. 

THE FUSIBLE COINS. 

The performer takes one or more coins between his fingers, 
when they melt and the molten metal flows out of his hands. 
When it has again solidified, he takes it into his hand and 
converts it into metallic vapor, which is seen to issue from be- 
tween the fingers. Then he catches the smoke clouds with 
his empty hands and produces the coins in their original 

shape, erform trick it is ne cessary to be provided with : 

(i) A little holder (see Fig. 66) about the size and shape of 
the well-known pull cup used for causing the change and dis- 
appearance of a handkerchief. This holder, which is also at- 



FiG. 66. 


tached by means of a rubber cord to the back part of the vest, 
is divided in the middle, opening at either end. One end is 
provided with a rubber cork, in which a tube is inserted, pro- 
vided on the outside with a little tap. This small holder is 
filled with mercury. The other end is first of all rinsed out 
with hydrochloric acid, and a little cap fitting on same is simi- 
larly prepared with liquid ammonia. The cap is now placed 
on The two chemicals combining form a vapor. 

( 2 ) A small metal basin (see Fig. 67), really consisting of two 
carts the outside one being deeper than the other, which has 
a minute hole in the bottom, so that a vacant space is created 
between the two (see Fig. 68, which gives a section of same) 

The performer commences the trick by passing the coins 
apparently into the left hand (really palming them in the 
right) which passes backwards and forwards over a lighted can- 
dll on the table, the right hand meanwhile getting rid of 
coins noiselessly on servants Under cover of the movements 


6o 


MODERN COIN MANIPULATION. 


of the left hand over the candle, the right hand obtains pos- 
session of the holder from the right sleeve. Performer ex- 
plains that the coins are by this time melted. Hands are 
now placed together, taking care that the presence of the 
“fake” is not detected. The little tap is opened and the 
mercury allowed to escape through the fingers into a glass be- 
neath. The tap is now closed and the “pull ” allowed to fly 
back up the sleeve. Performer now exhibits the mercury in 
the glass, stating that it is the silver of the molten coins. 
He now says that he will convert it into its original rough 



Fig. 67. Fig. 68. 


solid state, and for this purpose pours it into the little bowl be- 
fore described, which is placed for good effect, if possible, on 
a piece of ice. If no ice is available, make use of a fan. The 
mercury, of course, at once disappears through the tiny hole 
in the false bottom in the bowl. This done the performer, 
under pretense of showing how the process is being accom- 
plished, grasps the bowl, at the same time secretly inserting a 
lump of Wood’s metal, which melts at about 68 0 C. This 
might be introduced before the mercury is poured in, the pre- 
cise method employed, however, being immaterial so long as 
it is inserted indetectably. After a time he turns >out the 
same on the table. 

“ Yop seem inclined to think that I am merely telling you a 
pretty story, ladies and gentlemen. Please look for your- 
selves. Here you can see the erstwhile molten metal is quite 
solid,” (he taps the table with the lump, showing in the 
meantime, the empty bowl). “If you think it not the same 
you have just seen in its liquid condition, I shall be only too 
pleased to show you that you are mistaken by performing the 
experiment in another manner. Now watch me closely. I 
place the lump into a glass filled with water and put it on a 
tripod, over which I place a wire gauze. Now I warm the 
water by the aid of this spirit lamp. A short period of time 
will be adequate to melt the silver before your gaze in a trans- 


MODERN COIN MANIPULATION. 


61 


parent glass.” (He now pours out carefully the hot water- 
letting the liquid metal out on a sheet of paper, the paper is 
not charred by it). “This peculiar change in the properties 
of the silver, which has usually rather a high melting point, 
has been brought about by my magic touch. Meanwhile, as 
you all can see, the metal has again become solid matter. The 
paper is absolutely undamaged. I shall now proceed by tak- 
ing this solid lump in the left hand (really palming it in the 
right) and hold it over the candle in this manner.” (The 
right hand meanwhile gets down “pull,” turns it ’round, so 
as to get the smoke end facing the front, the hands are now 
brought together, smoke cap removed and smoke allowed to 
escape through-fingers, “ pull ” released aud allowed to go back 
into sleeve). “As you can see, ladies and gentlemen, the 
Uansformatiou is an accomplished fact. The metal, having 
first of all, changed into a liquid state, has now been turned 
into vapor. The coins would be lost forever if I waited until 
the fumes disperse, so all I have to do is to catch at the vapor 
and here we have a coin, here another” (and so on, until all 
have been produced). “ Here we find the coins have now re- 
turned to their original condition, none the worse for their 
mysterious travels.” 

The mode of producing the coins is as follows ; The left 
hand (left side facing audience) makes a grab in the air, the 
right hand at the same moment palming from the pocket the 
correct number of coins used. Now make a half turn to the 
left, the right hand grabs at the smoke, the two hands come 
together and pretend to knead the vapor into its proper 
shape and then show one coin. This is repeated until all 
have been “caught.” 


MODERN COIN MANIPULATION. 


62 


CHAPTER IV. 


MECHANICAL DEVICES FOR PERFORMING THE 
“MISER’S DREAM.” 

In this chapter it is proposed to describe all the latest de- 
vises iuvented to imitate the author’s methods of palming with 
coins. First of all will be explained a number of mechanical 
coins, each being so constructed that the “Continuous Back 
and Front Palm ” (without, of course, the additions, i. e ., open- 
ing of fingers, etc., as described on page 7), can be performed 
with comparative ease. 

The author intends, in the first place, to describe what he 
considers to be one of the best coins of the above description, 
inasmuch as the performer can casually throw same in the air or 
from hand to hand, even at close quarters, and defy detection. 
Fig. 69 explains the manner in which the coin is prepared. A 
wire loop, large enough to easily encircle the middle finger, is 
attached to a coin by means of a minute hinge. This latter ar- 



Fig. 69. Fig 70. 


rangement admits of the loop being laid flat on the coin (Fig. 
70), in which position it is absolutely invisible even- at close 
quarters. The coin is now placed on the extended fingers of 
1 he right hand, the loop being slipped over the second finger. 
It will be found that the coin can now be swung invisibly to 
ilie back of the hand, and again brought to the front with 
great ease. 

The author specially recommends any one not inclined to 
devote sufficient time to practising the sleight-of-hand method 


MODERN COIN MANIPULATION. 63 


to purchase one of these coins, as the back palm can then be 
executed in a few minutes. 

The next coin to be described, coming within the above 
category, is that depicted in Fig. 71. Two thin coins are first 
of all brazed together 
with a spindle, running 
freely through same 
(shown by the dotted line 
in the illustration). At- 
tached by a piece of wire 
to this spindle is a flesh- 
colored arrangement, 
which, in reality, consists 
of two rings of just suffi- 
cient size to fit on the 
first finger. The finger 
is placed through the 
rings or loops in such a 
manner that the coin lies 
almost at the tips of the 
two middle fingers, which, 
if brought down under the 
coin, in a similar manner 
to that described in Fig. 

2, cause the coin to revolve and disappear to the back of the 
hand. To bring it to the front again the movement is simply 
reversed. 

Another single coin “fake” for performing the Back and 
Front Palm is that depicted in Fig. 72 : a a are two hooks for 
clipping the knuckle ends of the first and fourth fingers, at- 
tached to which is a wire (b) runing from edge to edge of the 
coin. When the apparatus is placed in proper position it will 
be found that the reverse palm can be easily executed. 

Coins somewhat similar to the above, but having the two 
hooks attached to the spindle, immediately flush with either 
side of the coin (in this case, of course, the hooks fit the top 
joints of first and little fingers) are to be obtained, but the effect 
produced is not so good. 

The coin next to be described is the invention of Mr. Wil- 
liam J. Hilliar, and as an improvement on the foregoing, inas- 
much as the fingers can be spread open. It consists of two 
thin coins, brazed together, through which runs a piece of fine 
elastic, which admits of great extension. The elastic termi- 
nates on either side of the coin in catgut loops, which fit over 
first and fourth fingers. The ordinary reverse palm can now 
be accomplished, but when it is desired to show nothing be- 
tween the fingers, all that is necessary is to push down the 
coin with the two middle fingers into the palm which grips it 





64 MODERN COIN MANIPULATION. 


Fig. 72. 

cf this (see Fig. 73). When the back of the hand is shown to 


Fig. 73. 

the audience the elastic is completely hidden by the first and 


tightly, the elastic, of course, stretching sufficiently to admit 



MODERN COIN MANIPULATION. 


65 


fourth fingers. To show the front of the hand the coin is 
simply released from palm when it flies to finger tips, whence 
it is transferred to the back of the hand. 

The author specially recommends this coin, as he considers 
it to be the best adaptation of the “Spider” idea that he is 
acquainted with. 

Innumerable other mechanical coins, invented for the same 
purpose as the foregoing, are to be obtained from any relia- 
bie dealer in magical goods. The author would recommend a 
purchaser to obtain two, or even three different coins, as he 
can then use the one that suits him best, some of the devices 
being far more suitable for one person’s hand than another. 

Either of the above mentioned coins can be used for imitat- 
ing the author’s feat of passing a coin through the knee, but 
in this case, of course, one must be attached to each hand. 

A great number of “coin holders” are used in different 
ways by magicians, enabling them 
to deal easily with a large number 
of coins. The holder now about 
to be described is used for the pur- 
poses of getting the first stack of 
coins on tothe rim of the hat, and 
subsequently in to the hat, for the 
purpose of dropping one at a time, 
the sleight-of-hand method of 
which is explained in Chapter 1. 

Fig. 74 shows the appearance of 
the holder, which is constructed on 
the principle of the well-known 
sovereign purse, the top being at- 
tached to a spiral spring, which 
can be depressed, but immediately 
resumes its original position. It 
is obvious, therefore, that if the 
coin is removed another one im- 
mediately takes its place. Sol- 
dered to the holder are two hooks 
to attach same to the lining of the 
hat, thereby enabling the per- 
former to remove the left hand, 
if desired. In the opinion of the 

author the hooks are rather more . . ,, 

bother than use, as for instance, in the act of removing the holder 
from the pocket, the hooks are just as likely as not to catch in 
something. The holder should be painted a dead black, thus 
considerably minimizing the chances of its being observed 

While on the subject of hat « fakes ” the author will now de- 
scribe an exceedingly ingenious piece of apparatus. It is so 



Fig. 74 - 




66 


MODERN COIN MANIPULATION. 


constructed that, during the performance of “The Miser’t 
Dream,” the artist can at any moment (by making use oi 
this apparatus), show both hands empty, and to alleviate any 
suspicion that the coins drop into the hat from the left hand, 
the hat can be held on the palm of the hand. Notwithstanding 
this, coins can be caught in the air with the right hand and 
thrown apparently into the hat, same being distinctly heard 
to fall. This can be repeated a number of times. 

The piece of apparatus necessary for producing the above 

effect is that depicted in Fig. 
75 : A is a holder made of brass, 
the capacity of which is suffi- 
cient to hold easily six half- 
dollars. To. the bottom plate 
(d) of same are fastened two 
tiny hooks (b), which enable 
the performer to suspend same 
wherever most get-at-able, for 
instance, behind coat-tails ; c 
is a slot extending in front of 
the bottom plate (d) to the mid- 
dle of the holder. The slot is 
big enough to allow the inser- 
tion of one half-dollar at a time 
into the holder. Opposite to 
the bottom plate (d) is the bottom (E) of the holder, which is 
provided with a hole sufficiently large to admit the easy inser- 
tion of the tip of the middle finger. The first coin to drop 
rests in front of the slot (c), and to prevent it from dropping 
prematurely, a lever (h) is fixed below the holder, sidewise to 
the slot (c). The lever is pushed forward and turned hound 
so that the little metal clip (F) of same enters the slot (c). A 
spiral spring fixed to the lever (h) has the effect of drawing 
the lever back, so that as soon as the metal clip (F) enters the 
slot (c) it is held in position by the spring. 

Provided with the above, the performer goes, hat in hand, 
among the audience, allowing them to inspect the hat. 
While this is being done, he indetectably obtains possession 
Df the holder from wherever it was secreted, and as he' returns 
to the stage he manages to fix it into the hat by hanging it on 
both hooks (b) to the leather rim. He now presses down the 
hook (G) of the lever (h), thereby opening the slot (c). To 
prevent the coin lying in front of the aperture (c) from falling 
aut, now the hat is slightly tilted, so that the coins rest on the 
bottom (E) (see Fig. 76). He now placest he hat in this lean- 
uig position on his left palm, so that the coins are still re- 
:ained in position. While making a grab in the air for a 
:oin the performer slightly tilts the brim of the hat towards 



MODERN COIN MANIPULATION. 


67 


the audience, causing all the coins in the holder to fall against 
the bottom plate (d). The first coin is prevented from drop- 
ping yet by the weight of the remain- 
der of the coins. Just when the artist 
has apparently caught a coin and 
throws it into the hat, the latter is 
slightly tilted backwards to its former 
position, causing the coin nearest to D 
(being released from the pressure ex- 
erted by the other coins) to drop into the 
hat — the other coins ranging themselves 
against E (Fig. 76). The above move- 
ments are, of course, repeated. Although 
this is a mechanical piece of appara- 
tus, a good deal of practice is necessary 
to enable the performer to produce a 
perfect illusion. It will be found that, 
if the hat is tilted too far or not just 
far enough, the coin will not drop. Any 
sleight-of-hand performer, however, will 
find no difficulty in working this “ fake ” 
by following the foregoing instructions. 

The next piece cf apparatus to be described, while not in- 



Fig. 76. 



Fig. 77. Fig. 78. 



68 


MODERN COIN MANIPULATION. 


vented for the purpose of imitating the author’s sleights, is 
interesting inasmuch as it admits of rather a novel effect in 
“ The Miser’s Dream.” While performing the money-catch- 
ing, a coin is seen suddenly to appear on the extreme rim of 
the* hat, whence it is removed and thrown into the hat. 
This can be repeated ad lib. 

The apparatus consists of abr ass hook that just fits on to 
the rim of a hat. Attached to the hook 
by means of a hinge is a steel clip, in 
which the coin is previously inserted 
(see Fig. 77). This is secretly placed in 
position on the hat, and by giving same 
a tilt in the direction of the audience, 
the coin is swung up into view as in 
Fig. 78. It is now apparently taken in 
the right hand (in reality folded back 
again) and a palmed one dropped into 
the hat to produce the necessary illu- 
sion. 

Many appliances have been invented 
to enable a performer to palm a large 
number of coins, the best of which, the 
recent invention of Mr. John Hamley, 
is that depicted in Fig. 79. It consists of fottr coins, two at each 
end, brazed together, and through which runs a piece of nar- 
row but strong elastic. This piece of apparatus is lying 
amongst the coins on the table, and in the act of gathering 




them all up, the rest are worked in between the rubber until 
the same is quite taut; see Fig. 80, which shows about 50 
coins between the rubbers. 

In this condition the stack is exhibited to the ardience as 


MODERN COIN MANIPULATION. 


69 


an unprepared pile of coins. The pass can then be easily 
made, and the coins apparently vanished. When the perform- 
er desires to reproduce the coins, say from under the vest, 
the two ends of the “stack” are pressed tightly and the sec- 
ond finger exerts a pressure in the middle of same, which 
causes the coins to separate and fall in a shower, thereby con- 
vincing the audience that same are unprepared. 

A11 exceedingly useful, and at the same time novel piece of 
apparatus, designed to enable the performer to indetectably 
and instantaneously obtain possession of a number of coins, is 
that shown in Fig. 81. It is attached to the pants by means 



of a safety-pin soldered at the rear, just under tlie vest, hav- 
ing, of course, been previously filled with coins. Now at the 
moment when the artist desires the coins, he casually lets his 
hand drop to the bottom of his vest and his wrist presses the 
clip attached to the spring, thus releasing the bottom strip of 
metal, which allows the coins to escape 111 a pile into the per- 
former’s hand. 

With a little practice it will be found that the above is a 
most unique and certain method of invisibly getting hold of a 


70 


MODERN COIN MANIPULATION. 


quantity of coins. It would be very useful during the per- 
formance of “The Miser’s Dream,” and, in fact, is suitable 
for use in any coin trick where a quantity are manipulated. 

Fig. 83 depicts another adaptation of the above idea, de- 
signed by Mr. William E. Robinson. This holds more coins 
than the preceding one, from 20 to 25, and upon the plate a 
being pressed the whole stack of coins drops noiselessly into 
the hand. 



A “very** mechanical method of causing the appearance 
and disappearance of a coin is described in Figs. 83 and 84. 
A is a flesh-colored metal finger-top, which just fits over the 
middle finger, with the coin attached to it by means of hinged 
wires hanging on the back of the hand. The front of the hand 
is now shown empty, and the coin swung ’round to the front 
when the back can be shown, then again the front, and the 
coin then swung ’round and produced. 


MODERN COIN MANIPULATION. 


7i 


CHAPTER V. 


A FEW ADDITIONAL COIN TRICKS. 

The author has not included the following in the chapter 
devoted to miscellaneous coin tricks and combinations, for 
the reason that some of same have been described from time 
to time in the conjuror’s journal, “ Mahatma.” As this book, 
however, is intended as a complete manual of the art of con- 
juring with coins, the author feels that same would be incom- 
plete if some of the following excellent tricks and sleights 
were omitted, hence the reason of their reproduction in these 
pages, which is by the courtesy of the very able editor, Mr. 
W. G. Peterkin, of the journal above referred to. 

A really good idea is that embodied in the first trick to be 
described under the above heading and called 

THE COIN OF MERCURY. 

To perform this trick you require two tumblers, whose in- 
side diameter at the bottom is t tie same as the coin to be used, 
a jug of water, a glass disc that fits nicely into the bottom of 
the tumbler, a sheet of newspaper, a book about the size of a 
small dictionary, and the piece of apparatus illustrated below. 
Show the tumblers and fill them with water to show entire 
absence of preparation ; empty the water out and give them 
for examination. As you walk back to the table palm the 
glass disc. Now borrow a coin from the audience and insist 
on its being marked. Place it inside a handkerchief, but as 
you do so, change it for the glass disc, request a volunteer to 
hold it over one of the tumblers, and at your command to 
diop it in ; he does so, and the sound of the falling glass ex- 
actly resembles that of a coin. Attached to the back of the 
book is the apparatus mentioned above. Unperceived drop 
the coin into the fake. 

Next pick up the book and carelessly run over the leaves, 
taking care, however, not to pull the thread accidentally— the 
best way being to hold the pin in place with your finger. 
Next place the book on the table, and set the second tumbler 
upon it. Your pretence of desiring to cut off all communica- 
tion gives you an excuse to form a cone of the newspaper, 
with which you cover the glass, taking care, however, that 
the cone overlaps book and fake, thus allowing room for the 


72 


MODERN COIN MANIPULATION. 


coin to fly into the glass. Experience will teach the correct 
position, which you will understand is very important. Hav- 
ing done this you may now announce that you will cause the 
marked coin to leave the tumbler held by the gentleman in 
the audience, and to pass into the glass standing on the book. 
While you are talking, secure the thread. A slight pull re- 
leases the spring, and the coin is thrown into the air and 
falls into the tumbler. 

Uncover glass held by gentleman to show that coin has 
vanished. The previous wetting was done for a purpose, as 
the glass disc is thereby caused to adhere to the bottom of the 
tumbler, thus enabling it to be turned upside down. Next re- 
move paper cone from tumbler on book, and to the astonish- 
ment of the audience they behold the marked coin. Palm off 
the fake and give the book for examination. With attention 
to details, and careful working, this has a startling effect. 

Fig. 85 is the fake proper, with two tiny hooks to attach 
same to book. Figs. 86 and 87 show side and front views re- 
spectively of fake with coin in place, spring pressed down and 



held in position by tiny pin. Fig. 88 shows entire working of 
trick, and imaginary flight of coin, after thread is pulled to 
release the spring. 


THE COIN CORNUCOPIA. 

The performer calls attention to a piece of newspaper, and then 
makes a cornucopia of it, which he places in a glass that is on a 
common dinner plate on your table. He then rolls his sleeves 
up to show that nothing is concealed in sleeves or hands. This 
done, he picks up from the table a half-dollar and passes it in- 
side the cornucopia, which he has shown empty, and this he con- 
tinues to do until he passes four coins, or any number that he 
wishes to pass, and upon opening the cornucopia four half-dol- 
lars roll upon the plate from inside the cornucopia. How it is 
done : In the first place the cornucopia is made from a piece of 
newspaper that has alreadjr been prepared in the following 
manner : The newspaper is doubled over, making half the size o 


MODERN COIN MANIPULATION. 


73 


the paper, the sides and top are pasted together to resemble 
3ne piece of paper ; but before doubling over you paste two or 
three pieces of tissue paper, four inches square, in the centre 
}f the paper, making four separate pockets, so coins do not 
rattle, and you leave top of the pockets open, in which yon 
place your coins before the entertainment, as many as you 
wish to use, being careful when picking up the paper to make 
the cornucopia not to let the coins fall out. Now have a dozen 
-oins on your table, and the first one you pass inside the cor- 
nucopia you really palm it, keeping it in the hand, or, if you 
wish to show your hands empt)% pocket it, the second one in 
the same manner, making as much of a noise as you can with 
the coins when you pick them up, the third coin you pick up, 
you again lay it on the table to assure the audience that as your 
sleeves are rolled up, it is impossible for it to disappear up your 
sleeves, and as your hands do not come in contact with your 
the person, coin must actually pass inside at your command. 
This time you make believe you pick up the coins, rattling them 
as though picking up one ; then call their attention to the fact 
that by passing it from one hand to the other it gradually be- 
2 omes smaller, until it has really vanished, and when you take 
in consideration that you had nothing in your hands to com- 
mence with — a very easy matter — but to the audience a very 
clever piece of work. The fourth coin you merely palm, and 
when you open the cornucopia you drop it with the three you 
have already in it upon the plate. The reason for using the 
plate to place the glass upon, is simply to make a noise drop- 
ping the coins upon it. 

THE OBEDIENT COINS. 

After the performance of “The Miser’s Dream,” the follow- 
ing diversion is excellent. 

The attention of the company is directed to an empty tum- 
bler which lies upon its side upon the table, mouth towards 
the auditorium. The glass is then placed upright, and several 
of the coins which have been so magically gathered from the 
air, are ordered to fly into it. They not only obey the com- 
mand, but they are seen to shoot into the tumbler, out of 
which they are then poured. The secret is this : The coins have 
a small hole drilled through their centres, also the glass has a 
hole drilled through its bottom ; likewise the table has a 
small hole where you stand the glass. A strong knotted 
thread is passed through the coins, thence into and through 
the tumbler, and finally the end is carried down through the 
table, and out to a concealed assistant. The coins rest upon 
the servante of your table, directly behind the glass. A vig- 
orous pull upon the thread will cause the pile of coins to fly 
visibly into the glass, and the same pull will break the thread, 


74 


MODERN COIN MANIPULATION. 


leaving them in a condition to be readily poured from the 
tumbler. 

THE COIN AND PAPER TUBE. 

The performer takes a small piece of paper, making a round 
tube of it, which he secures in the middle of the stage by 
a ribbon fastened to each side of it, which suspends it there. 
The performer, standing anywhere upon the stage, produces a 
coin, and throwing it up into the air it passes through the 
tube, falling upon a plate placed on a table underneath the 
tube. As the coin falls through upon the plate, it can be seen 
and heard all over the house. The explanation is that in the 
tube, when making it, you place a coin-dropping apparatus 
that can be secured at the magical dealer’s. A thread of wire 
runs through one side of the ribbon that holds the tube, and 
is fastened by a hook while attaching the ribbon to the tube, 
aud when your assistant pulls the string it releases one coin 
at a time, and after the experiment is finished you take down 
the tube, showing it empty, palming off the box. A good 
way to secure it, when making the tube, is when your assist- 
ant brings out the cardboard on a waiter’s tray, which, al- 
though innocent-enough looking, has a double bottom that 
you have your box in, with a small wire attached to it, so that 
when lifting up the cardboard your finger goes through the 
loop in the wire, bringing the small box back of the card 
board, aud when you make the tube you have it already in- 
side. You make the tube of cardboard to fit exactly the coin 
box inside, and have a catch attached to the ribbon so when 
you fasten it to the tube it also clasps the little box inside, 
holding it suspended. A small ring fastened to the thread or 
wire running through one side of the ribbon slips over a 
catch, which liberates the coins. 

AN OLD TRICK IMPROVED. 

Our readers will probably recall the following very puzzling 
trick, which made its appearance a few years ago. A sheet of 
brown paper was laid on the table, and an ordinary tumbler 
was inverted upon it. Beside the tumbler, and on the brown 
paper, was laid a ten-cent piece, and, a borrowed handker- 
chief being thrown over the tumbler, any person is asked to 
set the tumbler over the ten-cent piece. Now, upon raising 
the handkerchief, the ten-cent piece (which should be under 
the glass) had vanished. The secret consists in the fact that 
a round disc of paper of the same sort as that on which the 
tumbler stood, was neatly pasted on the mouth of the tum- 
bler, just covering it. Of course, when under cover of the 
handkerchief, the tumbler was set over the dime, the paper 
disc covered aud caused it to vanish apparently. Now, this 
is the new version of the trick. Use plain white paper, aud 


MODERN COIN MANIPULATION. 


75 


when you come forward with the glass, holding it with the 
bottom towards the audience, and the paper end against your 
shirt bosom. The glass will thus appear devoid of preparation. 
However, there is a disc of white paper on the mouth of the 
tumbler, but this does not show against your white shirt 
bosom. Now, behind this disc, and against it, you hold with 
your finger a penny, and when you set the tumbler bottom 
upon the sheet of paper, there will be under it a penny, but it 
will be invisible. Now you make an ordinary paper cone 
which just fits over the glass, and is open at the top. Then 
you borrow a penny, and dropping it in the top of the cone 
it is plainly heard to fall on the bottom of the tumbler. You 
now command the penny to pass down through the tumbler 
on to the paper. Upon lifting the tumbler in the cone, the 
penny appears on the paper. Now you replace the tumbler, 
and command the penny to come back on to the bottom of 
the tumbler. This time you raise only the paper cone, when 
the coin is found to have disappeared from the table, and is on 
the bottom of the tumbler. 

A GOOD COIN TRICK. 

The performer borrows a half-dollar, and taking it in the 
hand and bending the left arm, pretends to rub the coin into 
his left elbow. The coin drops on the floor, but he picks it 
up and tries again. Again it drops, and again he picks it up, 
but this time with the left hand, when he takes it apparently 
with the right, but really, by means of the drop, leaves it in 
the left hand. The fingers recommence the rubbing of the 
elbow, as though they still held the coin : but meanwhile the 
left hand, which is brought by the bent position of the arm 
closer to the neck, drops the coin inside the performer’s col- 
lar, to be found at pleasnre. Meanwhile the performer con- 
tinues the rubbing, presently removing the fingers, showing 
that apparently the coin has passed into his elbow, both 
hands being empty. 

TO TELL DATE ON BORROWED COIN. 

This is one of the very best parlor tricks in existence. Per- 
former, whilst blindfolded, desires spectator to hand him a 
half-dollar, which he, the performer, simply drops on the table, 
instantly naming the date on same. 

To commence the trick you have a duplicate coin, the date 
of which you are acquainted with, palmed in the right hand, 
and as you take the borrowed coin between finger and thumb, 
exchange it for the palmed one in the act of throwing same 
on the table. You now stale the date on the duplicate, which, 
upon, being examined, is found to be correct. 


76 


MODERN COIN MANIPULATION. 


This method is rarely, if ever, detected, and produces a 
sensation. 

ENTIRELY NEW PASS WITH TWENTY-FIVE COINS. 

This is a most excellent pass, and the author feels sure it will 
be appreciated. Twenty-five coins are placed in the left 
hand, and the right shown empty. Right hand now strokes 
left, which is opened, and coins have disappeared, same being 
produced by right hand from wherever desired. 

Stand with the back of the left hand facing audience. The 
coins are apparently placed in the left hand, which closes, but 
in reality are stacked on the outside of fingers, being sup- 
ported by the little finger of the left hand. Right is now 
shown empty and passes over left, during which movement 
the coins can very easily be palmed off into the right hand 
without a sound or suspicious movement being made. Left 
hand is then opened ai^d shown empty, coins being produced 
as fancy dictates. Five minutes’ practice will suffice to show 
what a really brilliant move this is. 

THE NEW GLASS COIN-JAR. 

The following will be found a pretty effective little trick, 
worked either with a coin show or by itself. A pretty glass 
jar, containing a silk American or other flag, is brought on 
and placed on table, the stopper is removed and thoroughly 
examined. The flag is taken out and laid on table, and the 
jar held horizontally by the top and bottom and looked 
through by performer to show no trickery. Jar is replaced 
on table and stopper put in, and the whole covered with the 
flag. A silver tripod, with ring at top to receive dish, is next 
placed over jar. Four coins are now placed in a glass dish, 
and placed on top of the tripod. On removing flag the coins 
are seen and heard to fall into the jar and to have left the 
dish on tripod. Dish, tripod, and jar can now be thoroughly 
examined. Now for the solution. In each side of neck of 
jar, which is roughly cut so as to be opaque, are drilled two holes, 
through which is pushed from one side to the other a U-shaped 
piece of wire, twisted at the base so as to make a tiny ring, to 
which is fastened a piece of fine thread (the same length as the 
distance between the opposite corners of flag), the other end 
of thread is fastened to a corner of the flag, and this corner, 
together with the whole of the thread, is stuffed into the jar 
through the space A, the opposite corner of flag only being 
allowed to stick out of the top of jar so as to be at hand. The 
coins are now placed on the wire and hidden by the corner of 
the flag. The jar can now be shown ’round, the coins being 
lept steady by the first finger of the left hand. Now place 
jar on table, still keeping first finger of left hand on coins. 


MODERN COIN MANIPULATION. 


77 


and draw out the flag quickly with the right hand, which 
proves indirectly that nothing is concealed in the neck of the 
jar, and having taken up jar horizontally by both ends and 
looked through it, place stopper in and cover with flag, the 


Fig. 89 (New Glass Coin-Jar). 



corner with thread attached hanging at back. Place tripod 
in position (one leg in front). Show your four coins and 
throw on table, take up glass dish, which is also roughly cut, 
and holding at back of table, sweep the coins, one at a time, 
into another glass dish on servante, and place empty dish ou 
tripod. The rest is easy. , , 

Remove the flag slowly, and immediately the last corner is 
drawn off, the coins are seen and heard to fall into the jar. 
For stage purposes, the wire can be pulled out by assistant, 
in which case the jar would not be covered. The object in 
using the flag is twofold, viz., that it is a means of introduc- 



78 


MODERN COIN MANIPULATION. 


ing some good patter, and serves the object of concealing the 
presence of the thread by its dazzling colors. (The coin jar 
as above can be obtained of any first-class dealer in magical 
apparatus). 

THE WINGED COIN. 

The effect of this splendid piece of magic is as if you had 
passed a marked half-dollar from a distance into an uncorked 
bottle, whose neck was so small that the bottle must be 
broken to get the coin out. In appearance it is as follows: 
Any gentleman is invited to assist you, and is seated in a chair 
in the centre of the stage, facing the audience. You take 
an empty soda-water bottle (one of the round end variety) and, 
standing it upright upon its head, you ask him to steady it 
with both hands so that it does not fall. Now you borrow 
any half-dollar and have it marked by the owner ; taking it 
in your right hand, you, in full view of the audience, make as 
if to throw it towards the bottle. The sound of a falling coin 
is heard, and upon your bidding the gentleman to take down 
the bottle and shake it, a half-dollar is seen to be within. 
You take the bottle down to the audience and turning it over 
it is seen that the neck of same is smaller than the coin. 
You now step to your table, and taking a hammer break the 
bottle over a small box, and picking up the bottom of the 
bottle you pass it, containing the coin, to the owner, who 
identifies his coin. The secret is this : You have two bottles, 
one of which is prepared in this manner : the round bottom is 
sawed off, and a half-dollar placed in it, and the bottom ce- 
mented on again. On the back of the chair (which is solid) is 
fastened a little wire bottle-rack, in which the prepared bottle 
is placed beforehand. Beside this little rack is a cloth bag, and 
as you step up behind the seated subject to place the bottle 
upon his head, you rapidly drop the bottle into the bag, and, 
with the same motion, bring up into view the prepared bottle, 
which you place upon his head, with the request that he hold 
it. As the bottom is round, the coin cannot be seen from a 
distance, and the same reason also necessitates his holding on 
to it, else it will tumble over. After vanishing the coin by 
palming, you request him to shake the bottle, which he does, 
and the coin is seen to be in it. It is then shown that the 
neck is too small to admit the half-dollar, after which yon 
hold it over a box containing sawdust and break it. You then 
pick up the bottom, and at the same time substitute the 
marked coin for the one that was first in it, and pass bottom 
aud coin to the owner. 

NEW COINS AND DIE, 

This is an improvement on a trick that is as old as our 
grandfathers, and explained in the first books of magic. No 


MODERN COIN MANIPULATION. 7 S 


doubt our readers are well acquainted with the hollow stack 
of coins in which a small die or cork ball is concealed. The 
trick from time immemorial has been worked with either the 
English penny or American two-cent piece. Now the use of 
a two-cent piece is not advisable, for it is not an easy matter 
to borrow them from an assembly, and for a conjuror to take 
them from his pocket himself is bad taste and also suspicious. 
It is best to get a stack of ten half-dollars, and the only real 
coin is the top one, the rest are manufactured coins, for sale at a 
reasonable price by the magical dealers. Now over this set of 
coins make a shell to represent a like number of coins, the 
top being a real coin turned down thin, and the rest of the 
fake a tube of German silver or brass, silver-plated and 
grooved and milled. The first stack of coins are each one sin- 
gle, but connected with a rivet through all of them, this al- 
lows them to be moved a trifle on each other, which helps to 
dispel any suspicion that might arise as to their genuineness. 
To prepare the trick, place the shell stack over the first or 
hollow stack. For abbreviation’s sake, we will call it stack i, 
and the other, stack 2, is the outside shell ; both look now as 
one. Inside of interior of No. 1 place a die or ball ; we will 
suppose we have a cork ball. Now place over the open euds 
a real silver coin, and have this in a place of concealment 
easily got at. You now have a stack of ten imitation coins and 
one real one. Ask for a number of half-dollars, starting by 
using one of your own, and after you have borrowed ten you 
place them on the table and then stack them up, one at a 
time, counting them. Suppose now the fake coins are con- 
cealed in the left-tail coat pocket. Pick up the pile of coins from 
the table in left hand, and remark that you will try to send 
the coins through the table, pretending to take them 111 the 
right hand, but really retaining them in the left, strike the ta- 
ble with the right hand, and advance the left hand with concealed 
coins under the table, as you do so allow the coins to escape from 
your hand quickly but singly into the left-hand pocket, and 
grasp the concealed fake set. The pocket should be double, 
so the real coins can be dropped and not interfere with the 
coniuror obtaining the other set in portion of pocket, or this 
set can be in pants pocket. The falling of the coins in the 
pocket sounds to the spectators like coins falling into the con- 
luror’s hands, after passing through the table. Bringing up 
the fake set he places them on the table witn real com and 
open side of fake down. Again counting the coins as they set 
011 the table, he remarks he has eleven instead of ten, which 
is all he requires, he pushes away the bottom or real coin and 
places it in his pocket, then takes out a little cork ball, placing 
it on the table. Taking up a piece of paper, he makes into a 
little cap or cone to fit over the coins, but remarks that it fits 


8 o 


MODERN COIN MANIPULATION. 


too tight; he removes it, and says he will use it to cover the 
cork ball, which he does ; he then makes another cover for 
the coins, and this seems to be all right. The coins and cork 
being covered for a few moments, t lie covers are removed and 
the objects are found to have changed places. This is ac- 
counted for by the fact that the cover first made and placed 
over the coins, and then removed, carried away with it the 
outside shell. In removing both covers afterwards, the hol- 
low stack, No. i, is carried away with the cover, thus expos- 
ing the ball, and the other shell, No. 2, is left behind, cover- 
ing the ball. While this change is being observed, the hol- 
low stack, No. 1, is allowed to drop into the hand from the 
paper cone, which is tossed carelessly on the table, and the 
fake dropped into the tail pocket, right-hand side. Again 
covering shell, No. 2, with the paper, he picks up the cork 
ball and vanishes it by sleight. He now picks up the paper 
cone and carries away the shell with it, tossing paper on ta- 
ble, leaving, however, the shell in his hand, which he gets 
rid of, and passing the other hand beneath the table, pro- 
duces the coin, apparently from under the same, really taking 
them from the tail pocket, where they have been all along, 
innocent of what has taken place. Sometimes instead of 
shell No. 2 being of metal, it is made of silver paper, and 
when carried away with the paper cone, both are crushed up 
and carelessly thrown away, but not where any one can easily 
pick it up before the conjuror and thus expose him. 


V. 




MODERN COIN MANIPULATION. 8r 


CHAPTER VI. 


KOINCLUDING OBSERVATIONS. 

Under the above heading the author intends giving magical 
friends the benefit of his experience, not so much as regards 
the actual working of tricks, but as to the correct method of 
presenting same to an audience. He is aware that a great 
deal has already been written on this all-important subject in 
the numerous excellent treaties on Sleight of Hand in ex- 
istence, but he hopes that, at the least, these few remarks 
will prove interesting to conjurors. 

The writer assumes, in the first place, that the reader will 
be performing one or more “sleights” or “combinations,” 
described in the foregoing pages. This being so, the author 
advises the performer not to present the trick in detail as 
hereinbefore described. He should take the idea of a certain 
trick as his foundation, so to speak, upon which to build up 
his illusions. This will not be found at all difficult of accom- 
plishment, but will, on the other hand, probably create in 
the mind of the artist a sense of originality hitherto absent. 
In conjuring, as in all other professions, originality stands 
pre-eminent as the root of success, and, unless the aspirant 
for honors in the magical world possesses a certain amount of 
absolute originality, the author fears his chances of making 
even a respectable livelihood are very remote indeed. 

When a particular performer introduces a new idea, the 
same is immediately copied and imitated ad lib., but the imi- 
tators and copyists never do much, for the simple reason that 
they are looked upon as not possessing sufficient originality to 
produce a novel act. 

Almost without exception, all the imitators of “The Miser’s 
Dream ” that the author has witnessed have, in the course of 
their entertainment, used his original patter, word for word. 
This can be excused in young conjurors, starting up the lad- 
der, but when certain performers, each with something of a 
reputation, not only perform the identical tricks but use ex- 
actly the same boniment , it certainly does not add to their 
reputation, but, on the contrary, undoubtedly does it injury. 

The author was present, a few weeks siuce, at one of the 


82 


MODERN COIN MANIPULATION. 


most popular places of entertainment in London, where a 
certain “greatest one that ever lived,” etc., was “doing” 
“The Miser’s Dream,” with some of the additional effects de- 
jcribed in this book, and for each particular experiment the 
performer spoke the exact patter as used by the writer during 
his extensive Palace Theatre engagement. 

The author does not wish to appear egotistical, but simply 
mentions the foregoing facts to show the amateur how a repu- 
tation is “ not ’ made. 

Aspiring coin manipulators and conjurors have the writer’s 
best wishes for their success, and should one ever do him the 
pleasure of calling upon him in any city where he is perform- 
ing, he will be only too pleased to give him any personal ad- 
vice in his power. But he impresses upon them the fact that 
they must invent and originate new ideas. Sit down and 
think, and think, and think again, until an idea occurs to you ; 
then start to work to elaborate your idea, not only into a sin- 
gle trick, but, if possible, into a complete act. Cards, billiard 
balls, handkerchiefs, cigars, eggs, flags, etc., are each quite ca- 
pable of being made into a’ whole act. Whatever your perform- 
ance may consist of, endeavor to have as little as possible 
on the stage in the way of apparatus or preparation. In fact, 
the sleight-of-hand performer that appears on practically a 
bare stage, stands much more chance of “ being talked about ” 
than the one that has an elaborate and even costly “fit up.” 
The latter, of course, may be pleasing to the eye, but it always 
savors of mechanism. A plain stage, with perhaps a single 
tripod gueridon , looks far more difficult for a conjuror to 
work upon than the “ boxed-iu ” curtain arrangement now so 
frequently adopted by performers. 

Now, having originated a new act, the next thing for the 
performer to do is to practise and learn the proper manner in 
which to present it to the public. If the performer is at all 
“ heavy” and too serious, no matter how clever his dexterity 
is, the audience feel the same, whereas, on the other hand, if 
the artist possesses a pleasing manner, fluent speech, and ex- 
hibits the appearance of being quite at home, doing nothiug 
in a stiff or awkward manner, the audience likewise are 
pleased. Of course, it will be said, “Yes, that’s all very well, 
but enormous practice and public performance are essential to 
a perfect stage manner.” This may, perhaps, be true to a 
certain extent, but, nevertheless, if the novice sets his mind 
on presenting an act in .a certain manner, and always sticks to 
that manner, he will find that he will not have much further 
trouble about stage presence. 

The conjuring professiou is exactly like a business of any 
other description. It’s the one that sells his goods in a proper 
manner that commands success. A grocer, for instance, may 


MODERN COIN MANIPULATION. 


83 


have a splendid stock of goods, but, unless lie treats his cus- 
tomers in a proper manner, he fails. So it is with the con- 
juror. He may possess the greatest possible dexterity, but, 
unless he can present same in an entertaining and interesting 
manner to the audience, his success is mediocre. 

Many of the leadiug performers of the present day rely 
upon old tricks, confining their originality to the method of 
presenting same. Any readers that may have witnessed the 
excellent drawing-room entertainment of Dr. Byrd Page will, 
the author feels sure, appreciate this fact. This gentleman 
presents, almost without exception, old tricks, but dressed in 
such new clothing that they are almost unrecognizable. Mr. 
David Devant is another celebrated performer that possesses 
a talent for modernizing and improving old tricks. Some 
other performers that have long since made their reputation, 
rely simply on the old tricks, and never trouble about any- 
thing new. 

The author advises young prestidigitators to witness all the 
performances of the conjurors he can, and then not make the 
usual mistake and copy one artist’s particular style, but en- 
deavor to imitate a style or manner of his own. 

Horace Golden is one of the most successful American con- 
jurors that has come to the “front” very rapidly in the 
past few years, and strictly 011 his merits. Mr. Golden, who 
is now billed as “The Great Golden,” owes his success to his 
original methods. Aside from his marvelous tricks, nature 
endowed him with a “funny dialect,” which adds greatly to 
his success. Golden’s “bag of funny tricks” never fails to 
“make good” with all classes of audiences, as he has a pecu- 
liar and original style of his own. The writer has always ad- 
mired Mr. Golden’s performance, and oredicts for him a grea‘ 
fnture in the magical world. 

Another American conjuror and mystifier, who is now cre- 
ating a sensation in Europe, is Harry Houdini. Mr. Houdini 
is styled the “ King of Handcuffs,” and justly, too. Houdini 
has completely baffled the police authorities all over the 
world by releasing himself from all kinds of handcuffs , leg- 
shackles , and prison irons. In Dresden, Germany, Houdini 
was locked securely by the police authorities with over 90 
pounds of prison irons, and succeeded in releasing himself 
from all the locks in less than eight seconds, returning all of 
the irons, etc., unlocked. Houdini does not use “ trick cuffs,” 
and claims he does not use keys to unlock the locks. We un- 
derstand that a certain dealer of magical apparatus in Ger- 
many (who, by the way, seems to be very jealous of the suc- 
cess of American conjurors), undertook to unmask and expose 
Houdini during his recent and most successful engagement in 
Berlin. This would be a very unprofessional thing to do, even 


8 4 


MODERN COIN MANIPULATION. 


if he was capable of doing it, but we are pleased to note that 
the alleged expose was a failure, and the man that would 
make a fool of Houdini only succeeded in making a fool of 
himself — a juat reward. 

Mr. Houdini’s piece die resistance is the familiar “trunk 
trick,’’ but he deserves great credit for making the exchange 
so decidedly quick — the author has never seen the trick done 
so well — another case of not what you do , but how you do it. 
Of course, it naturally follows that Houdini has, and will have, 
imitators , notwithstanding his patents — but will the imitation 
be the same ? 

“Modern Coin Manipulation ” is now finished, and the 
“King of Koius,’’ wand, or rather pen, in hand, makes his 
bow after presenting his first act as an author, trusting that 
this work, which will be followed by an elaborate treatise on 
all-around sleight of hand, embracing new sleights with cards, 
eggs, handkerchiefs, billiard balls, cigars, etc., will prove a 
useful manual to all that are interested in VArt Magique. 


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and sleight-of-hand performers than this 
book. Coins, cards, silk hat, handkerchiefs, 
and balls are all int roduced in the many pro- 
grams offered, thus affording one an endless 
variety from which to select for parlor or 
stage entertainments. This great book will 
be sent by mail, postpaid, to a Jiy address, ou 
receipt of 30 Cents per copy. 


<r-rga§ >£3 IjL jSL 9 



•WORTH ITS WEIGHT IN GOLD - BUT THE PRICE 15 ONLY 25* 




WEHMAX’S 

BURNT CORK; ON the Amateur Minstrel 

PRICE 30 CENTS. 

Fiank Dumont, the author of this book, 
stood at the head of his profession — min- 
strelsy. He has prepared in this work a 
varied collection bf the best negro wit and 
humor, as rendered by the leading stars 
and comedians of the present day. It con- 
tains humorous stump speeches, end men’s 
jokes and stories, funny after-pieces and 
farces, comic recitations, plantation 
sketches, conundrums and finals, etc. 
Also full instructions for making wigs, 
preparing burnt cork, how to make up tor 
different styles of characters, how to get 
up appropriate programs, and, in fact, ev- 
erything pertaining to minstrelsy is so minutely and carefully 
explained that you could not fail to give an excellent per- 
formance with Burnt Cork ill your possession. This book is ac- 
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works on the subject ever published, and the first step, after 
organizing a minstrel company, should be to procure a copy. 
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This book treats on this little animal from two 
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is a very profitable employment. Many boys 
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WITCH’S DREAM-BOOK and FORTUNE-TELLER 

PRICE 30 CENTS. 

OLD AREA, the queen of witches, was 
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She gives you the key to unlock the 
future, and makes every person his 
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how to know the sex of children be- 
fore bii’th ; to know how soon you wili 
marry, and what fortune you will 
have; who your future husband or 
wife will be; the lover’s charm, or 
old witches’ true method of telling 
fortunes by the grounds of a tea or 
coffee cup • to know if your love of a 
person will be mutual; fortune-telling 
by cards. It tells the number of wives 
or husbands you will have; how to 
write love letters secretly, so that 
they may not be discovered. The old 
witch can bring you good or evil 
fortune. Don’t spurn her and you 
can control others and find lost or 
hidden treasures. She is powerful. 
Price, by mail, postpaid, only THIRTY 
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price 

A a W iDWttft 30 CENTS 

AND 

GYMNASTICS WITHOUT A TEACHER 

This book gives the whole theory and 
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hard ; how to stop quickly and easily ; 
and how to “get away” without even 
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be a perfect boxer without taking les- 
sons. But to make it still more plain, 40 
pictures show every possible attitude 
for blow, feint, stop, dodge, or “get 
away.” Everything is so plainly told 
that any man can become so good a 
sparrer that, he can defend himself and 
punish his attacker, while all that quali- 
fies a came man to win in a prize fight 
is explained by pictures as well as by 
word. This book also explains, with nu- 
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HOW 


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CTMN ASUCS WITHOUT ATE&tHER 



IOO ILLUSTRATIONS 

PUBLISHED BY WEHMAN BROS. NEW YORK 




COOPER’S 


P A M I P readings and 

UUilill) RECITATIONS 

•* 


oacz to cxirriT 


cooper's 



PRICE 30 CENTS. 

This is a new volume compiled b)’ George 
COOPER. Many of the recitations and read- 
ings contained therein have never before 
been published in book form, and its con- 
tents comprises some of the best effoits 
of such world-renowned humorists as Mark 
Twain, Josh Billings, Artemns Ward, Bret 
Harte, Bill Nye, W. S. Gilbert, and others. 
This book will be sent by mail, postpaid, to 
any address, on receipt of 30 Cents 


Amateur Orlando, The 

Afeared of a Gal 

Another Dish, Please 

At Central Park 

Adaptable Poem, An [Man 

Aurelia’s Unfortunate Young 

At Long Branch 

Anger and Figures 

Baby’s Soliloquy 

Bumboat Woman’s Story, The 

Boy’s Essay on Girls 

Buck Fanshaw’s Funeral 

Bicycle and the Pup, The 

Cold Baked Beaus of My Mother 

Chinese “Excelsior,” The 

Chicago Pivoters, The 

Chop-Chow-Chi n 

Corns 

Cart before the Horse, The 
Christmas Chimes 
Country Sleighing 
Chinaman and the ltats 
Chiquita 

Doesn’t Know the Words 
Draw Poker 
Deacon Jones 
Elf Child 

Emperor Wang, The 
Essay on Man, An 
Goslin, The 


CONTENTS. 

General John 

George Washington 

Girl of the Period, A 

Head Tenor, The 

How He Fascinated Her 

His Love 

How to Get Rich 

He Was Spared 

He Worried about It 

Height of the Ridiculous, The 

His Lovely Innocence 

Half-way Doin’ s 

How They Said Good Night 

Invitation to the Menagerie 

In the Dark 

In Holland 

Josh Billings on Courtship 
Little Brother of the Rich 
Little Billee 

Mark Twain’s Good Little Boy 
Modern Fables [The 

Man Witch Didn’t DrinkWotter, 
Milestone, The 
Mystery of Gilgal, The 
My Mother- in-law [Stove 

Mr. Perkins Helps to Move a 
Night after Christmas, The 
Nobody 

Ninety-nine in the Shade 
Only a Pin 


Old Man Speaks, The 
Old Bookkeeper, The 
Only One 

Prize Fighter to His Girl, The 
Photographing the Baby 
Poor Little Stephen Girard 
Prepared for Anything 
Parson’s Sociable, The 
’Round the Stove 
Red-headed Girl, The 
Removal. The 
Romeo and Juliet 
Sneezing 
Specially Jim 
Serenade 

Spelling Match, The 
Small Boy in the Dime Museum 
School Girl’s Letter, A 
Stage Struck 

Stage Bald heads [The 

Society upon the Stanislow, 

Seaside Drauia, A 

True Tale of William Tell, The 

That Purp 

To a Shoplifter 

Twins, The 

Torture 

Upon My Word She Did 
Water 

Yarn of the Nancy Bell 


Persons in Foreign Countries must remit by POST-OFFICE M01TE? OBDER 
FOBEIGN COIIT, STAMPS, 05 POSTAL NOTES NOT ACCEPTED. 




'AN EXTRAORDINARY 15-CENT OFFER I 

THE INITIATORY STEPS IN THE STUDY Or PRACTICAL MESMERISM AND 
HYPNOTISM, CLEARLY, CONCISELY AND NTERESTINGLY WRITTEN. 

BOOK OH PRACTICAL 

Mesmerismm Hypnotism 

The veil that has hidden Mesmerism and Hypnotism from the eyes of 
the world, is at last cast aside, and this mysterious domain explored in 
such a manner as to bring this great boon to humanity into an exact 
science. Barriers have been thrust aside, and this great knowledge has ' 
been grasped from the hands of those who wished to keep it from the 
people. No greater wealth can be gained than through a knowledge of 
Hypnotism. He who can control the body and mind of whomsoever he 
chooses, to him every hour is rich with love, every moment jeweled with 
joy, and the world’s purse-strings are at his command. By this mysteri- 
ous power you can enter the sacred portals of the mind, and greater still, 

by a wave of the hand you can make 
that mind do your bidding. It is a great 
ssientific discovery, for through its won- 
derful power disease can be banished as If 
by magic, and it is the only soot her of pain 
that has no bad after-effect. Through its 
power any bad habit can be cured, and 
from it you can step from poverty’s shadow 
into the glory of wealth’s blessings. If you 
have a husband, wife, child, sister, brother 
or friend that is addicted to the liquor 
habit, or any other bad habit, through this 
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into the sunshine of right and happiness. 
If you have lost the esteem or love, or if 
you wish to gain the esteem or love of any- 
one, it is within your power to do so. The 
love of a true man or woman is the great- 
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man being. The following is a summary of 
Its contents:— The qualifications of a good 
mesmerist— Persons that make the best 
subjects — Method of practice — How to mes- 
merize— How to awaken the sensitive — Practical hypnotism — Doctor 
Braid’s method— Doctor Moll’s process— Hypnotizing entirely by sug- 
gestion— To hypnotize in public— Phreno-manipulation — The principle 
of suggestion— The principle of hypnotism— How to hypnotize animals 
— To hypnotize a pigeon— To hypnotize a game cock— to hypnotize a 
canary, or any caged bird — To hypnotize dogs, cats, or rabbits— How to 
tame a vicious horse— Medical mesmerism — Nervousness— To mesmerize 
water— Medical mediums and clairvoyance. Many who have learned 
Mesmerism and Hypnotism are using the knowledge to good advantage 
by giving entertainments, thereby adding a nsat sum to their in- 
comes. Ot hers are giving benefits under the auspices of different so- 
cieties. All who have learned it have had numerous requests to dis- 
play their powers, and have found their knowledge on this subject to 
be of great benefit, both socially and financially, many adepts earning 
as much as $150 in a single night by giving entertainments and charg- 
ing admission. Price of book, bound in neat and attractive cover* w 
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Clog-Dancing Made Easy 

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i PRICE 30 CENTS. 

The dark night of superstition will never end. 
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§r 1000 WAYS TO GET RICH 

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0 019 732 484 3 


One Hundred and One IV ay 



MAKE MORE MONEY 



at Home 


UTSIDE of the appetites, there is but one desire com- 



mon to everyone — the desire to make money. The first 


recorded business transaction wherein actual money was used 
was when Abraham purchased the cave of Machpelah for a 
burial place for his wife at a cost of “400 shekels of silver, 
current money with the merchants.” This was 2,000 years 
before Christ. 

Since then money has been in demand continuously and 
today, when husbands find it hard to get or hold steady jobs, 
when wives are at their wits ends to buy all the things they 
need, and every child is eager to earn extra money, the uni- 
versal question is: “How can I earn more money?” 

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are given in most cases and though costs of raw materials dif- 
fer in some communities — the difference is very small — while 
the margin of profit increases according to your skill. 

The reader is warned that there are no get-rich-quick or 
“miraculous” schemes in this book. These plans are bona 
fide, practical ways of making money. Choose your way, 
begin gradually and work hard. The result is assured. 
Others have done these things. 


Price Fifty Cents 


